The Brodsky Center at Rutgers University: Three Decades, 1986-2017 9781978839946

Citation preview

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The Brodsky Center at Rutgers University: Three Decades, 1986–2017

Ferris Olin, guest curator

with collaborating curator, Christine Giviskos

Rutgers University Press New Brunswick, Newark, and Camden, New Jersey London and Oxford

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CONTENTS

Preface, Maura Reilly

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Curator’s Acknowledgments, Ferris Olin

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New Narratives for the American Cultural Mainstream: 30 Years of the Brodsky Center at Rutgers University, Ferris Olin

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Brodsky Center Artists in Residence, 1986-2017

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Plates The Brodsky Center: Essence and Emblems Cultural Vitality and Social Justice Documenting Place: Real and Imagined Escaping the Unitary Linear Icons and Symbols Innovations Looking at the Portrait The Sages Tribulations and Endings Visualizing the Text

53 65 81 99 111 119 129 145 157 167

Exhibition Checklist

174

Artists’ Biographies

191

Printing Processes

208

Index

215

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CONTENTS

Preface, Maura Reilly

6

Curator’s Acknowledgments, Ferris Olin

8

New Narratives for the American Cultural Mainstream: 30 Years of the Brodsky Center at Rutgers University, Ferris Olin

10

Brodsky Center Artists in Residence, 1986-2017

46

Plates The Brodsky Center: Essence and Emblems Cultural Vitality and Social Justice Documenting Place: Real and Imagined Escaping the Unitary Linear Icons and Symbols Innovations Looking at the Portrait The Sages Tribulations and Endings Visualizing the Text

53 65 81 99 111 119 129 145 157 167

Exhibition Checklist

174

Artists’ Biographies

191

Printing Processes

208

Index

215

6

7 explore inequities, human rights violations, colonialism, popular culture, ancient Indigenous civilizations, and contemporary politics. We see landscapes, real and imagined, unconventional interpretations of portraiture, symbolism, image-text combinations, and other innovative concepts and techniques. To frame the Center’s history is not an easy task, and this thematic presentation offers a new look at its breadth and brilliance. No project of this scope is accomplished without the contributions of many. First and foremost, a special debt of gratitude is owed to Judith K. Brodsky, the Center’s founder, without whose genius the Center would not exist. Thanks also are due to Dr. Ferris Olin, who curated and organized the project with the assistance of Christine Giviskos, curator of prints and drawings and European art; Stacy Smith, manager of publications and communications, who shepherded the book through to completion; Marie Latham and Jack Stawowczyk, catalogue designers, for their expert eye and design sensibility; Dot Paolo and Roberto Delgado, our extraordinary master framers; and, of course, all the artists involved in the Center and whose works we have the privilege of experiencing in this wonderful exhibition. Maura Reilly Director, The Zimmerli Art Museum

Preface

The Zimmerli Art Museum is proud to present The Brodsky Center at Rutgers University: Three Decades, 1986–2017, the first museum survey of this highly influential print lab founded by Judith K. Brodsky in 1986. At the time of its founding, the art world had been ignoring marginalized artists for centuries. It was that same year, for instance, that the canonical art history textbook History of Art, by H. W. Janson, included women for the first time; it would take until 1995 for the first African American and Native American artists to be included. It’s shocking today to consider how recently that was. A lot has changed since then: women and BIPOC artists are now included regularly in galleries, museums, art fairs, art press, auctions, and so on. But when Brodsky first conceived of the Center, she was venturing into new territory, paving the way for others to focus on underrepresented artists. Over the course of its 30 years at Rutgers, the Center invited hundreds of women and artists of color as well as white male artists to participate in its unique environment, inspiring a generation of artists and art lovers to appreciate printmaking as a high art medium on a par with painting and sculpture. This exhibition catalog includes a superb essay by Dr. Ferris Olin that offers an overview of the Center’s founding principles, the artists and master printmakers involved, and the sociopolitical concerns that dominated the artistic output. It is lavishly illustrated with artworks from our own collection, key loans from the artists and master printers and papermakers involved, as well as some loans from collectors, a commercial gallery, and another museum. Olin’s essay highlights the importance of Brodsky’s vision and the cutting-edge work produced at the Center. She has organized the exhibition (and book) thematically, with careful attention paid to throughlines and links amid the several hundreds of artworks produced over the Center’s three decades. In doing so, she allows us to witness prints that

Judith K. Brodsky. Photographer: Andrea Warriner, 2000

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7 explore inequities, human rights violations, colonialism, popular culture, ancient Indigenous civilizations, and contemporary politics. We see landscapes, real and imagined, unconventional interpretations of portraiture, symbolism, image-text combinations, and other innovative concepts and techniques. To frame the Center’s history is not an easy task, and this thematic presentation offers a new look at its breadth and brilliance. No project of this scope is accomplished without the contributions of many. First and foremost, a special debt of gratitude is owed to Judith K. Brodsky, the Center’s founder, without whose genius the Center would not exist. Thanks also are due to Dr. Ferris Olin, who curated and organized the project with the assistance of Christine Giviskos, curator of prints and drawings and European art; Stacy Smith, manager of publications and communications, who shepherded the book through to completion; Marie Latham and Jack Stawowczyk, catalogue designers, for their expert eye and design sensibility; Dot Paolo and Roberto Delgado, our extraordinary master framers; and, of course, all the artists involved in the Center and whose works we have the privilege of experiencing in this wonderful exhibition. Maura Reilly Director, The Zimmerli Art Museum

Preface

The Zimmerli Art Museum is proud to present The Brodsky Center at Rutgers University: Three Decades, 1986–2017, the first museum survey of this highly influential print lab founded by Judith K. Brodsky in 1986. At the time of its founding, the art world had been ignoring marginalized artists for centuries. It was that same year, for instance, that the canonical art history textbook History of Art, by H. W. Janson, included women for the first time; it would take until 1995 for the first African American and Native American artists to be included. It’s shocking today to consider how recently that was. A lot has changed since then: women and BIPOC artists are now included regularly in galleries, museums, art fairs, art press, auctions, and so on. But when Brodsky first conceived of the Center, she was venturing into new territory, paving the way for others to focus on underrepresented artists. Over the course of its 30 years at Rutgers, the Center invited hundreds of women and artists of color as well as white male artists to participate in its unique environment, inspiring a generation of artists and art lovers to appreciate printmaking as a high art medium on a par with painting and sculpture. This exhibition catalog includes a superb essay by Dr. Ferris Olin that offers an overview of the Center’s founding principles, the artists and master printmakers involved, and the sociopolitical concerns that dominated the artistic output. It is lavishly illustrated with artworks from our own collection, key loans from the artists and master printers and papermakers involved, as well as some loans from collectors, a commercial gallery, and another museum. Olin’s essay highlights the importance of Brodsky’s vision and the cutting-edge work produced at the Center. She has organized the exhibition (and book) thematically, with careful attention paid to throughlines and links amid the several hundreds of artworks produced over the Center’s three decades. In doing so, she allows us to witness prints that

Judith K. Brodsky. Photographer: Andrea Warriner, 2000

Curator’s Acknowledgments

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9 An exhibition that focuses on a print- and papermaking atelier is one that implicitly centers on collaboration, because the media requires a visiting artist to partner with a master printer or papermaker to create a new edition. The Brodsky Center beautifully epitomized this methodology. My work as guest curator followed this example, for as I researched the Center’s history and artistic projects, I worked with many individuals who helped inform my knowledge of its history and workings. I, myself, am not a stranger to working collaboratively, since most of my academic career was forged by working with a partner, or even teams of colleagues, on individual research and curatorial projects. My thanks go firstly to Judith K. Brodsky, who spent countless hours introducing me to the workings of the Brodsky Center. I have known her since the print studio first opened as the Rutgers Center for Innovative Print, then the Rutgers Center for Innovative Print and Paper, and finally the Brodsky Center for Innovative Editions, and I was fortunate to meet many of the artists-in-residence while they were working on their projects. Brodsky’s vision and energy, as well as her gift of sharing knowledge and can-do spirit, are inspirational. This exhibition and publication owe much to this dynamo. Additionally, I spent many hours talking with the Center’s master printers and papermakers and other staff, who gave me valuable insights into their work as artists and as collaborators with visiting artists. Among them were Lynne Allen, Gail Deery, Eileen M. Foti, Randy Hemminghaus, and Anne McKeown. I thank them for their generosity of time and willingness to share their expertise. I originally began researching the history of the Center and conceptualizing an exhibition about it in 2005, with my colleague Rosemary Miles of the Victoria and Albert Museum, for a proposed 20th-anniversary exhibit that would be at the Museum of Modern Art but did not materialize. Indeed, I received a Rutgers Research Council Grant to travel to several Latinx and Indigenous artists to interview them about their work editioned at the Brodsky Center. I thank the Research Council at Rutgers for its support. Similarly, Rosemary Miles and I spent time with many artists, interviewing them for an archive we were developing. In all cases, we were accompanied by a Mason Gross School of the Arts graduate and videographer, Joe Nanashe, who taped and edited each conversation. Nanashe also spent time at the Brodsky Center, documenting many artists as they worked on their projects. Some of these videos can be accessed through the QR codes on the labels of the works on exhibit. The multitalented multimedia artist Jack Stawowczyk edited the digital archives of interviews and created a QR code for each wall label. He also created the longer video for the Zimmerli Art Museum exhibit and Rhinold Ponder, as a former co-curator with Judith Brodsky, was kind enough to interview her for the video. We could not have had such an extensive library recording the talented artists at work and in their studios, the QR codes embedded on the exhibition labels, or the longer informative videotape about the Brodsky Center without all their efforts.

About a decade later, I was commissioned by the New Jersey State Museum to research through the records of the Center in preparation for a potential exhibition.1 This daunting task of going through unprocessed archives in the Rutgers University Libraries within a very short time was accomplished with the assistance of the talented Elizabeth Napier, herself already an expert in the world of works on paper. Though this potential exhibit never came to fruition, Napier agreed to work with me again for this Zimmerli Art Museum exhibit. Because of her extensive knowledge of the works produced at the Center and its history, she provided invaluable assistance to me in preparation for this show and book. I want to thank the many lenders to this show and the artists whose works are on view. Additionally, I appreciate all the assistance provided by the artist and gallerist Dot Paolo to transport the loaned works of art, as well as to photograph them for the catalog. Marie Latham and Jack Stawowczyk provided their artful talents to the design of this handsome catalog. They were a pleasure to work with. As guest curator, I could not have realized this project without my partners at the Zimmerli Art Museum. The Zimmerli’s director Maura Reilly invited me to organize the exhibition. It has been a pleasure working with her and her wonderful staff. Dr. Christine Giviskos, curator of prints, drawings, and European art, facilitated all my dealings with her colleagues and worked tirelessly to see the project to completion. Cara Giddens, exhibition coordinator; Margaret Molnar, associate registrar; Nicole Simpson, associate curator of prints and drawings; Stacy Smith, manager of publications and communications; and other staff at the museum helped in countless ways. I am grateful for their counsel and efforts to bring my vision to reality. Ferris Olin Guest Curator Distinguished Professor Emerita, Rutgers University

Ferris Olin, 2022

1

Both the 2005 and 2017 initiatives were underwritten by planning grants from the National Endowment for the Arts.

Curator’s Acknowledgments

8

9 An exhibition that focuses on a print- and papermaking atelier is one that implicitly centers on collaboration, because the media requires a visiting artist to partner with a master printer or papermaker to create a new edition. The Brodsky Center beautifully epitomized this methodology. My work as guest curator followed this example, for as I researched the Center’s history and artistic projects, I worked with many individuals who helped inform my knowledge of its history and workings. I, myself, am not a stranger to working collaboratively, since most of my academic career was forged by working with a partner, or even teams of colleagues, on individual research and curatorial projects. My thanks go firstly to Judith K. Brodsky, who spent countless hours introducing me to the workings of the Brodsky Center. I have known her since the print studio first opened as the Rutgers Center for Innovative Print, then the Rutgers Center for Innovative Print and Paper, and finally the Brodsky Center for Innovative Editions, and I was fortunate to meet many of the artists-in-residence while they were working on their projects. Brodsky’s vision and energy, as well as her gift of sharing knowledge and can-do spirit, are inspirational. This exhibition and publication owe much to this dynamo. Additionally, I spent many hours talking with the Center’s master printers and papermakers and other staff, who gave me valuable insights into their work as artists and as collaborators with visiting artists. Among them were Lynne Allen, Gail Deery, Eileen M. Foti, Randy Hemminghaus, and Anne McKeown. I thank them for their generosity of time and willingness to share their expertise. I originally began researching the history of the Center and conceptualizing an exhibition about it in 2005, with my colleague Rosemary Miles of the Victoria and Albert Museum, for a proposed 20th-anniversary exhibit that would be at the Museum of Modern Art but did not materialize. Indeed, I received a Rutgers Research Council Grant to travel to several Latinx and Indigenous artists to interview them about their work editioned at the Brodsky Center. I thank the Research Council at Rutgers for its support. Similarly, Rosemary Miles and I spent time with many artists, interviewing them for an archive we were developing. In all cases, we were accompanied by a Mason Gross School of the Arts graduate and videographer, Joe Nanashe, who taped and edited each conversation. Nanashe also spent time at the Brodsky Center, documenting many artists as they worked on their projects. Some of these videos can be accessed through the QR codes on the labels of the works on exhibit. The multitalented multimedia artist Jack Stawowczyk edited the digital archives of interviews and created a QR code for each wall label. He also created the longer video for the Zimmerli Art Museum exhibit and Rhinold Ponder, as a former co-curator with Judith Brodsky, was kind enough to interview her for the video. We could not have had such an extensive library recording the talented artists at work and in their studios, the QR codes embedded on the exhibition labels, or the longer informative videotape about the Brodsky Center without all their efforts.

About a decade later, I was commissioned by the New Jersey State Museum to research through the records of the Center in preparation for a potential exhibition.1 This daunting task of going through unprocessed archives in the Rutgers University Libraries within a very short time was accomplished with the assistance of the talented Elizabeth Napier, herself already an expert in the world of works on paper. Though this potential exhibit never came to fruition, Napier agreed to work with me again for this Zimmerli Art Museum exhibit. Because of her extensive knowledge of the works produced at the Center and its history, she provided invaluable assistance to me in preparation for this show and book. I want to thank the many lenders to this show and the artists whose works are on view. Additionally, I appreciate all the assistance provided by the artist and gallerist Dot Paolo to transport the loaned works of art, as well as to photograph them for the catalog. Marie Latham and Jack Stawowczyk provided their artful talents to the design of this handsome catalog. They were a pleasure to work with. As guest curator, I could not have realized this project without my partners at the Zimmerli Art Museum. The Zimmerli’s director Maura Reilly invited me to organize the exhibition. It has been a pleasure working with her and her wonderful staff. Dr. Christine Giviskos, curator of prints, drawings, and European art, facilitated all my dealings with her colleagues and worked tirelessly to see the project to completion. Cara Giddens, exhibition coordinator; Margaret Molnar, associate registrar; Nicole Simpson, associate curator of prints and drawings; Stacy Smith, manager of publications and communications; and other staff at the museum helped in countless ways. I am grateful for their counsel and efforts to bring my vision to reality. Ferris Olin Guest Curator Distinguished Professor Emerita, Rutgers University

Ferris Olin, 2022

1

Both the 2005 and 2017 initiatives were underwritten by planning grants from the National Endowment for the Arts.

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11 New Narratives for the American Cultural Mainstream: 30 Years of the Brodsky Center at Rutgers University Ferris Olin Distinguished Professor Emerita, Rutgers University

I.  Delineavit: She Drew It1 The April 30, 2023 New York Times Museums special section reported on new widespread efforts by museums to expand and attract audiences that reflect the changing demographics of America by strategically reassessing collections they had accumulated and acquiring new works to expand beyond Anglo-European masterpieces—most of them created by white males, now dead—with the overall goal to organize exhibitions that are more racially and ethnically inclusive.2 As Baltimore Museum of Art director Asma Naeem remarked, “What we are trying to do is to continue to shift the needle in terms of what kinds of voices are valued and how knowledge is produced. . . .”3 However, in 1986, Rutgers Distinguished Professor Emerita Judith K. Brodsky, a visionary artist and advocate, arts administrator and entrepreneur, printmaker, and scholar, had already recognized that women artists, gender nonconforming artists, and artists of color were excluded from the art world. All one had to do was look for exhibitions, reviews, museums, and collections for women and Black, Indigenous, and people of color (BIPOC) artists or look at the representation on museums’ staffs and boards of trustees. Brodsky’s pioneering vision set out to rectify the situation by establishing a residency center for these artists, now known as the Brodsky Center.4 A number of studies about the late 20th-century and early 21st-century art world provide a telling picture of its exclusivity and the scope of its discrimination. An investigation into the stables of the top New York City galleries and their inclusion of women artists from selected years 1970 to 1985 concluded that women artists were given solo shows as low as 9 percent in 1970 and as high as 24 percent in 1978, but in 1985 the figure decreased to only 16 percent.5 Even as late as 2017, when the Brodsky Center moved to the Pennsylvania Academy of the Fine Arts (PAFA), women and artists of color remained almost invisible in the art world. In the 2016–2017 exhibition season at New York’s top 45 art galleries, for example, 80.5 percent of all artists represented were white. And if one looked at only the United States artists, then the number climbed to 88.1 percent; of the remainder, the racial breakdown was 1.2 percent Latino, 8.8 percent Black, 1.4 percent Asian, 0.2 percent Middle Eastern, and 0.4 percent Pacific Islander, while both South Asian and Native American artists were not even represented. Of the entirety, only 30 percent were female artists.6 Brodsky conceived and founded the Rutgers Center for Innovative Print (RCIP) after several years as a member of the Rutgers administration, during which she served on the Newark campus as chair of the art department, then associate dean of the Faculty of Arts and Sciences, and finally associate provost. She resigned from her position as associate provost in 1986 to resume her career as an artist and teacher. She had been a member of the graduate faculty at Mason Gross School of the Arts (MGSA) since 1978, when she came to Rutgers. She kept her hand in teaching by leading a graduate seminar at MGSA during her years in Newark.

She was explicit in her mission statement about the goals for the Center. Technical innovation was not what she had in mind. Rather, it was the innovation of new ideas and narratives and how to insert these into the visual arts world.7 Brodsky envisaged the Center as an international forum for the exchange of new ideas in print- and hand papermaking. The print workshop was to provide access to state-of-the-art printmaking studios for established and emerging women, gender nonconforming artists, and Black and brown artists, who, unlike their white male peers, had little or no access to such facilities. Her proposition was not only politically driven; it had an aesthetic goal, as well. She realized that artists who were on the periphery because of their gender and race were developing new narratives that reflected the rich culture of a diverse America and that these narratives should be components of the American artistic mainstream. Having the opportunity to create new work in print and handmade paper at the Center’s facilities would help make that inclusion become a reality. At the same time, the Brodsky Center would be consistent with and strive to fulfill the concept of research universities, like Rutgers, as institutions in which new ideas are developed and disseminated. Key to this concept was the enrichment of the student experience through contact with influential artists. Guest artists would not be segregated. Instead, they would work in the same studios as students, thus encouraging informal interaction. In addition, they would give formal talks and participate in critiques. This environment would bridge the divide between school and the professional world of art and develop confidence among students that their dedication to creating art was not in vain. With this mission, then, the Center became an intergenerational facilitator and a model of democracy. Besides the national trends found in American society overall as well as the art world, there is another context in which the history of the Brodsky Center also needs to be viewed—the environment and history of Rutgers University. New Jersey College for Women, founded in 1918 as the women’s college affiliated with Rutgers College (then educating only males), changed its name to Douglass College in 1955. When Rutgers College voted to admit women beginning with the class of 1976, faculty and students at Douglass College became entangled in debate as to whether to move toward coeducation or remain exclusively a women’s college. These discussions took place during turbulent times on the university’s campus, with sit-ins and teach-ins against the Vietnam War, actions on behalf of rights for African Americans, and the beginning of courses offered about women writers and women’s history. Indeed, feminist activist, artist, and writer Kate Millett was a guest speaker on the Douglass campus, where she urged its faculty and students to make the college the first feminist college on the East Coast. In the end, the college faculty voted to maintain its original mission to exclusively educate women. Yet it wasn’t until 1975 that a female artist was first hired on a tenure track faculty line by the Department of Visual Arts. In addition, undergraduate art and art history majors, only women, lacked female artist role models. They also did not see any exhibitions of works by women artists on campus until a Douglass graduate, the painter Joan Snyder, decided in 1971 to remedy this situation. She approached the then-college library director to ask her to designate the library’s lobby as an art gallery and to support a new program named the Women Artists Series, initially curated by Snyder. The series would show the works of emerging and established contemporary women artists and bring the artists to campus to meet with the Douglass community. That series, now known as the Mary H. Dana Women Artists Series,8 continues 52 years later and has been nationally recognized with an award from the Women’s Caucus for Art, for launching and supporting the careers of more than 500 women artists.

10

11 New Narratives for the American Cultural Mainstream: 30 Years of the Brodsky Center at Rutgers University Ferris Olin Distinguished Professor Emerita, Rutgers University

I.  Delineavit: She Drew It1 The April 30, 2023 New York Times Museums special section reported on new widespread efforts by museums to expand and attract audiences that reflect the changing demographics of America by strategically reassessing collections they had accumulated and acquiring new works to expand beyond Anglo-European masterpieces—most of them created by white males, now dead—with the overall goal to organize exhibitions that are more racially and ethnically inclusive.2 As Baltimore Museum of Art director Asma Naeem remarked, “What we are trying to do is to continue to shift the needle in terms of what kinds of voices are valued and how knowledge is produced. . . .”3 However, in 1986, Rutgers Distinguished Professor Emerita Judith K. Brodsky, a visionary artist and advocate, arts administrator and entrepreneur, printmaker, and scholar, had already recognized that women artists, gender nonconforming artists, and artists of color were excluded from the art world. All one had to do was look for exhibitions, reviews, museums, and collections for women and Black, Indigenous, and people of color (BIPOC) artists or look at the representation on museums’ staffs and boards of trustees. Brodsky’s pioneering vision set out to rectify the situation by establishing a residency center for these artists, now known as the Brodsky Center.4 A number of studies about the late 20th-century and early 21st-century art world provide a telling picture of its exclusivity and the scope of its discrimination. An investigation into the stables of the top New York City galleries and their inclusion of women artists from selected years 1970 to 1985 concluded that women artists were given solo shows as low as 9 percent in 1970 and as high as 24 percent in 1978, but in 1985 the figure decreased to only 16 percent.5 Even as late as 2017, when the Brodsky Center moved to the Pennsylvania Academy of the Fine Arts (PAFA), women and artists of color remained almost invisible in the art world. In the 2016–2017 exhibition season at New York’s top 45 art galleries, for example, 80.5 percent of all artists represented were white. And if one looked at only the United States artists, then the number climbed to 88.1 percent; of the remainder, the racial breakdown was 1.2 percent Latino, 8.8 percent Black, 1.4 percent Asian, 0.2 percent Middle Eastern, and 0.4 percent Pacific Islander, while both South Asian and Native American artists were not even represented. Of the entirety, only 30 percent were female artists.6 Brodsky conceived and founded the Rutgers Center for Innovative Print (RCIP) after several years as a member of the Rutgers administration, during which she served on the Newark campus as chair of the art department, then associate dean of the Faculty of Arts and Sciences, and finally associate provost. She resigned from her position as associate provost in 1986 to resume her career as an artist and teacher. She had been a member of the graduate faculty at Mason Gross School of the Arts (MGSA) since 1978, when she came to Rutgers. She kept her hand in teaching by leading a graduate seminar at MGSA during her years in Newark.

She was explicit in her mission statement about the goals for the Center. Technical innovation was not what she had in mind. Rather, it was the innovation of new ideas and narratives and how to insert these into the visual arts world.7 Brodsky envisaged the Center as an international forum for the exchange of new ideas in print- and hand papermaking. The print workshop was to provide access to state-of-the-art printmaking studios for established and emerging women, gender nonconforming artists, and Black and brown artists, who, unlike their white male peers, had little or no access to such facilities. Her proposition was not only politically driven; it had an aesthetic goal, as well. She realized that artists who were on the periphery because of their gender and race were developing new narratives that reflected the rich culture of a diverse America and that these narratives should be components of the American artistic mainstream. Having the opportunity to create new work in print and handmade paper at the Center’s facilities would help make that inclusion become a reality. At the same time, the Brodsky Center would be consistent with and strive to fulfill the concept of research universities, like Rutgers, as institutions in which new ideas are developed and disseminated. Key to this concept was the enrichment of the student experience through contact with influential artists. Guest artists would not be segregated. Instead, they would work in the same studios as students, thus encouraging informal interaction. In addition, they would give formal talks and participate in critiques. This environment would bridge the divide between school and the professional world of art and develop confidence among students that their dedication to creating art was not in vain. With this mission, then, the Center became an intergenerational facilitator and a model of democracy. Besides the national trends found in American society overall as well as the art world, there is another context in which the history of the Brodsky Center also needs to be viewed—the environment and history of Rutgers University. New Jersey College for Women, founded in 1918 as the women’s college affiliated with Rutgers College (then educating only males), changed its name to Douglass College in 1955. When Rutgers College voted to admit women beginning with the class of 1976, faculty and students at Douglass College became entangled in debate as to whether to move toward coeducation or remain exclusively a women’s college. These discussions took place during turbulent times on the university’s campus, with sit-ins and teach-ins against the Vietnam War, actions on behalf of rights for African Americans, and the beginning of courses offered about women writers and women’s history. Indeed, feminist activist, artist, and writer Kate Millett was a guest speaker on the Douglass campus, where she urged its faculty and students to make the college the first feminist college on the East Coast. In the end, the college faculty voted to maintain its original mission to exclusively educate women. Yet it wasn’t until 1975 that a female artist was first hired on a tenure track faculty line by the Department of Visual Arts. In addition, undergraduate art and art history majors, only women, lacked female artist role models. They also did not see any exhibitions of works by women artists on campus until a Douglass graduate, the painter Joan Snyder, decided in 1971 to remedy this situation. She approached the then-college library director to ask her to designate the library’s lobby as an art gallery and to support a new program named the Women Artists Series, initially curated by Snyder. The series would show the works of emerging and established contemporary women artists and bring the artists to campus to meet with the Douglass community. That series, now known as the Mary H. Dana Women Artists Series,8 continues 52 years later and has been nationally recognized with an award from the Women’s Caucus for Art, for launching and supporting the careers of more than 500 women artists.

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13 On Rutgers–New Brunswick campuses, simultaneously with the establishment of the Brodsky Center, a number of research centers and departments focused on women were already operating, including the then Women’s Studies program; the History Department, which had a graduate concentration in women’s history; the Institute for Research on Women (IRW); and the Center for American Women and Politics (CAWP), There were also research and cultural centers focused on African American, Latino, and Asian studies, as well as the Africana Studies program. By the time that Professor Brodsky returned to the New Brunswick campus and the RCIP became a reality, she also was an active member of the group of professors involved with women’s studies. For example, in 1986, the IRW received a major four-year grant from the New Jersey Department of Higher Education to transform humanities and social sciences courses in all of New Jersey’s academic institutions and to encourage faculty development with a focus on the new scholarship on gender, race, nationality, class, and sexuality. Through a similar grant from the Department of Higher Education, Professor Brodsky with Ferris Olin partnered with colleagues at the IRW,9 Douglass College, the Art History Department, and the Women Artists Series to revamp a 20th-century American art class offered by the Department of Art and Design at Mason Gross School of the Arts to teach that century’s art history by examining the lives and artistic careers of two women artists, one in her 80s and the second turning 90.10 This special project took place during the first year of the RCIP’s existence and set it on its course of collaborating with other entities at Rutgers, within the state, nation, and around the globe.

This environment would bridge the divide between school and the professional world of art and develop confidence among students that their dedication to creating art was not in vain. — Ferris Olin

David Driskell speaking to students in the Brodsky Center studios, 2012

The Brodsky Center’s residencies provided state-of-the-art studios and a staff of master printers and papermakers for women artists, gender nonconforming artists, artists of color, and artists from countries in transition (all perceived within the art world as marginal) to work in paper- and printmaking, media that, unlike their white male colleagues, they did not have the opportunity to explore. The artists spent two weeks to two months at Rutgers, depending on the scope of the project. During their stays, they interacted with students both informally and formally. The fact that the students were working in the same studios in which the visiting artists were engaged in collaborative projects created an atmosphere for easy mingling. Students also participated in internship programs, assisting the master printers and papermakers during artists’ residencies, and were exposed to the collaborative processes that resulted in the creation of challenging new work. As the Center grew, student internships provided staff assistance to help administer the budget and to assist in marketing, as well as event planning and execution. Students who worked at the Brodsky Center learned aspects of administration and went on to successful careers combining their art practice with inventive ways of sustaining themselves through the skills they learned as interns. The subsequent careers of students who experienced the Brodsky Center program prove this point. Among them are Patricia Wasson Carter, professor emerita at Georgia Southern University (who served as chair of the art department and subsequently as dean); Melissa Potter, professor of art and former director of the Center for Book and Paper Arts at Columbia College, Chicago; Jody Servon, professor and coordinator of the art management program at Appalachian State University; and Cynthia Nourse Thompson, associate professor and director, curatorial affairs, at Bernard A. Zuckerman Museum of Art at Kennesaw State University. Beyond furthering a diverse national culture, Brodsky had another goal. She wanted to proclaim the centrality of the printed image to contemporary art practice. She was outraged that printmaking, because of its modest market values, occupied a lower rung in the European and American hierarchy of art disciplines than painting, sculpture, or architecture. Thus, invitations to artists to be in residence were based on whether they were expressing important ideas, not on whether they had printmaking experience.

12

13 On Rutgers–New Brunswick campuses, simultaneously with the establishment of the Brodsky Center, a number of research centers and departments focused on women were already operating, including the then Women’s Studies program; the History Department, which had a graduate concentration in women’s history; the Institute for Research on Women (IRW); and the Center for American Women and Politics (CAWP), There were also research and cultural centers focused on African American, Latino, and Asian studies, as well as the Africana Studies program. By the time that Professor Brodsky returned to the New Brunswick campus and the RCIP became a reality, she also was an active member of the group of professors involved with women’s studies. For example, in 1986, the IRW received a major four-year grant from the New Jersey Department of Higher Education to transform humanities and social sciences courses in all of New Jersey’s academic institutions and to encourage faculty development with a focus on the new scholarship on gender, race, nationality, class, and sexuality. Through a similar grant from the Department of Higher Education, Professor Brodsky with Ferris Olin partnered with colleagues at the IRW,9 Douglass College, the Art History Department, and the Women Artists Series to revamp a 20th-century American art class offered by the Department of Art and Design at Mason Gross School of the Arts to teach that century’s art history by examining the lives and artistic careers of two women artists, one in her 80s and the second turning 90.10 This special project took place during the first year of the RCIP’s existence and set it on its course of collaborating with other entities at Rutgers, within the state, nation, and around the globe.

This environment would bridge the divide between school and the professional world of art and develop confidence among students that their dedication to creating art was not in vain. — Ferris Olin

David Driskell speaking to students in the Brodsky Center studios, 2012

The Brodsky Center’s residencies provided state-of-the-art studios and a staff of master printers and papermakers for women artists, gender nonconforming artists, artists of color, and artists from countries in transition (all perceived within the art world as marginal) to work in paper- and printmaking, media that, unlike their white male colleagues, they did not have the opportunity to explore. The artists spent two weeks to two months at Rutgers, depending on the scope of the project. During their stays, they interacted with students both informally and formally. The fact that the students were working in the same studios in which the visiting artists were engaged in collaborative projects created an atmosphere for easy mingling. Students also participated in internship programs, assisting the master printers and papermakers during artists’ residencies, and were exposed to the collaborative processes that resulted in the creation of challenging new work. As the Center grew, student internships provided staff assistance to help administer the budget and to assist in marketing, as well as event planning and execution. Students who worked at the Brodsky Center learned aspects of administration and went on to successful careers combining their art practice with inventive ways of sustaining themselves through the skills they learned as interns. The subsequent careers of students who experienced the Brodsky Center program prove this point. Among them are Patricia Wasson Carter, professor emerita at Georgia Southern University (who served as chair of the art department and subsequently as dean); Melissa Potter, professor of art and former director of the Center for Book and Paper Arts at Columbia College, Chicago; Jody Servon, professor and coordinator of the art management program at Appalachian State University; and Cynthia Nourse Thompson, associate professor and director, curatorial affairs, at Bernard A. Zuckerman Museum of Art at Kennesaw State University. Beyond furthering a diverse national culture, Brodsky had another goal. She wanted to proclaim the centrality of the printed image to contemporary art practice. She was outraged that printmaking, because of its modest market values, occupied a lower rung in the European and American hierarchy of art disciplines than painting, sculpture, or architecture. Thus, invitations to artists to be in residence were based on whether they were expressing important ideas, not on whether they had printmaking experience.

14

15 Margo Humphrey’s iconic lithograph with collaborating printer Eileen M. Foti, The History of Her Life Written Across Her Face, 1991 (Plate 78), entered the collection of the Museum of Modern Art in New York and was included in a book published by the museum documenting the acquisitions made by the Department of Prints, Drawings, and Photographs that year. A lithograph created by Miriam Schapiro, Frida and Me, 1990, one of her homages to women artists series, was acquired by the National Gallery of Australia in Canberra. Shortly after the acquisition, the image appeared on the cover of a museum publication. In addition, the edition sold out.

The 1994 RCIPP staff. (left to right) Eileen M. Foti, Judith K. Brodsky, Gail Deery, Lynne Allen, and Anya Szykitka

Starting in the 15th century, the print played two key roles in visual culture. While it conveyed visual information to enhance the written words made possible by Gutenberg’s invention of movable type, it also attracted artists as a medium that was conducive to experimentation and development of new ideas. One has only to think of the many impressions that Rembrandt pulled of each print, radically changing compositions, adding and subtracting figures. In the 19th century, conveying information became one of the functions of the new medium of photography, which had developed out of printmaking technology, but printmaking continued to attract and to be central to many artists as a preferred medium for expressing fresh concepts. Artists like Mary Cassatt and Pablo Picasso, and more recently Kiki Smith, Faith Ringgold, Chuck Close, and so many others, envisioned printmaking to be at the hub of their artistic practices. Printmaking, because of the replication it offered, was a more democratic medium than painting or sculpture and thus the perfect artistic discipline for furthering diversity in the art world. Because prints are published in editions, Brodsky was able to market their artistic production widely as a means to make their creative output more visible. She and other staff members would travel with the actual prints in hand to visit with curators across the United States and in Europe. Indeed, Rosemary Miles, curator, prints and drawings, at the Victoria and Albert Museum from 1970 to 2006, described that impact: The Center has had repercussions beyond the United States which in a way are quite extraordinary. In 1995 Judith Brodsky visited London, bringing with her a selection of work from the Brodsky Center. . . She did not know it, but at that time the Victoria and Albert Museum had recently begun a pro-active policy of collecting prints by black artists. . . It was a watershed moment. Hitherto work by African artists, or those belonging to the African diaspora had been virtually totally disregarded by major public collections here, with very few acquisitions being made. . . but the London public galleries were hardly the place to find their work.11

Often a print created at the Brodsky Center became the first artwork by a living woman or BIPOC artist acquired by a museum for its collection. Museums recognized the value and importance of these artists once they were introduced to them.

The first iteration of the Brodsky Center, the RCIP, opened in 1986 on the first floor of Walters Hall on the Douglass College campus (then a building housing both the Department of Visual Arts and Art History Department). Its facilities contained studios with the capacity for etching, lithography, silk screen, and relief printing. They held four etching presses, five lithography presses, vacuum tables for silk screen, and a small offset press. In addition, the RCIP had photographic processing areas complete with enlargers, copy camera, and platemaking units. A studio area was set up for professional editioning. Ventilation appropriate to each process was installed to ensure a healthy work environment. Access to computer rooms and darkrooms for film and paper were also provided to artists. Besides acquiring the most advaced equipment, Brodsky also hired a master printer trained at Tamarind Institute, founded in Los Angeles as the Tamarind Lithography Workshop by June Wayne in 1960 and Pacita Abad in the studio, c. 1992 later moved to the University of New Mexico. Wayne’s foresight led to the creation of a pool of master artisan-printers in the United States trained at Tamarind, who would also work expertly as collaborators with other artists to create works on paper in diverse styles and media, while reinvigorating the medium of prints and a market for them. At the time of its establishment, the RCIP was the only high-quality publishing atelier in New Jersey. In 1996, the Center moved its operations into a newly renovated space, the headquarters of the Mason Gross School of the Arts (MGSA), in a building also shared with the Edward J. Bloustein School of Planning and Public Policy in downtown New Brunswick. The Center’s staff was instrumental in custom-designing the space with a private studio for artists-in-residence, additional computer facilities, and a new letterpress facility. With the addition of a new studio for papermaking and the hiring of a master papermaker, the Center’s name changed in 1994 to the Rutgers Center for Innovative Print and Paper (RCIPP). With the establishment of the RCIPP, the printand papermaking program became a Center of excellence, enriching the learning experience of the students who were taking courses there. At one point, printmaking at Rutgers was rated as one of the top seven print teaching programs in the country, along with the Rhode Island School of Design, Tyler School of Art and Architecture (Temple University), and the University of Wisconsin.12 As a result of the construction and move of MGSA to a downtown arts building, the Center also was able to install annual exhibitions of new works in the school’s galleries. The Heldrich Hotel and Conference Center, newly constructed across the street from the art school, invited the Center to use the lobby as an exhibition space

14

15 Margo Humphrey’s iconic lithograph with collaborating printer Eileen M. Foti, The History of Her Life Written Across Her Face, 1991 (Plate 78), entered the collection of the Museum of Modern Art in New York and was included in a book published by the museum documenting the acquisitions made by the Department of Prints, Drawings, and Photographs that year. A lithograph created by Miriam Schapiro, Frida and Me, 1990, one of her homages to women artists series, was acquired by the National Gallery of Australia in Canberra. Shortly after the acquisition, the image appeared on the cover of a museum publication. In addition, the edition sold out.

The 1994 RCIPP staff. (left to right) Eileen M. Foti, Judith K. Brodsky, Gail Deery, Lynne Allen, and Anya Szykitka

Starting in the 15th century, the print played two key roles in visual culture. While it conveyed visual information to enhance the written words made possible by Gutenberg’s invention of movable type, it also attracted artists as a medium that was conducive to experimentation and development of new ideas. One has only to think of the many impressions that Rembrandt pulled of each print, radically changing compositions, adding and subtracting figures. In the 19th century, conveying information became one of the functions of the new medium of photography, which had developed out of printmaking technology, but printmaking continued to attract and to be central to many artists as a preferred medium for expressing fresh concepts. Artists like Mary Cassatt and Pablo Picasso, and more recently Kiki Smith, Faith Ringgold, Chuck Close, and so many others, envisioned printmaking to be at the hub of their artistic practices. Printmaking, because of the replication it offered, was a more democratic medium than painting or sculpture and thus the perfect artistic discipline for furthering diversity in the art world. Because prints are published in editions, Brodsky was able to market their artistic production widely as a means to make their creative output more visible. She and other staff members would travel with the actual prints in hand to visit with curators across the United States and in Europe. Indeed, Rosemary Miles, curator, prints and drawings, at the Victoria and Albert Museum from 1970 to 2006, described that impact: The Center has had repercussions beyond the United States which in a way are quite extraordinary. In 1995 Judith Brodsky visited London, bringing with her a selection of work from the Brodsky Center. . . She did not know it, but at that time the Victoria and Albert Museum had recently begun a pro-active policy of collecting prints by black artists. . . It was a watershed moment. Hitherto work by African artists, or those belonging to the African diaspora had been virtually totally disregarded by major public collections here, with very few acquisitions being made. . . but the London public galleries were hardly the place to find their work.11

Often a print created at the Brodsky Center became the first artwork by a living woman or BIPOC artist acquired by a museum for its collection. Museums recognized the value and importance of these artists once they were introduced to them.

The first iteration of the Brodsky Center, the RCIP, opened in 1986 on the first floor of Walters Hall on the Douglass College campus (then a building housing both the Department of Visual Arts and Art History Department). Its facilities contained studios with the capacity for etching, lithography, silk screen, and relief printing. They held four etching presses, five lithography presses, vacuum tables for silk screen, and a small offset press. In addition, the RCIP had photographic processing areas complete with enlargers, copy camera, and platemaking units. A studio area was set up for professional editioning. Ventilation appropriate to each process was installed to ensure a healthy work environment. Access to computer rooms and darkrooms for film and paper were also provided to artists. Besides acquiring the most advaced equipment, Brodsky also hired a master printer trained at Tamarind Institute, founded in Los Angeles as the Tamarind Lithography Workshop by June Wayne in 1960 and Pacita Abad in the studio, c. 1992 later moved to the University of New Mexico. Wayne’s foresight led to the creation of a pool of master artisan-printers in the United States trained at Tamarind, who would also work expertly as collaborators with other artists to create works on paper in diverse styles and media, while reinvigorating the medium of prints and a market for them. At the time of its establishment, the RCIP was the only high-quality publishing atelier in New Jersey. In 1996, the Center moved its operations into a newly renovated space, the headquarters of the Mason Gross School of the Arts (MGSA), in a building also shared with the Edward J. Bloustein School of Planning and Public Policy in downtown New Brunswick. The Center’s staff was instrumental in custom-designing the space with a private studio for artists-in-residence, additional computer facilities, and a new letterpress facility. With the addition of a new studio for papermaking and the hiring of a master papermaker, the Center’s name changed in 1994 to the Rutgers Center for Innovative Print and Paper (RCIPP). With the establishment of the RCIPP, the printand papermaking program became a Center of excellence, enriching the learning experience of the students who were taking courses there. At one point, printmaking at Rutgers was rated as one of the top seven print teaching programs in the country, along with the Rhode Island School of Design, Tyler School of Art and Architecture (Temple University), and the University of Wisconsin.12 As a result of the construction and move of MGSA to a downtown arts building, the Center also was able to install annual exhibitions of new works in the school’s galleries. The Heldrich Hotel and Conference Center, newly constructed across the street from the art school, invited the Center to use the lobby as an exhibition space

16

17 from 2007 to 2011. The RCIPP organized exhibitions of new editions created in its studios and also included exhibitions of graduate student work and local artists. A Rutgers University administrator wrote a fan letter soon after visiting the 1993 annual Brodsky Center exhibition of recent prints by New Jersey Print Fellows, National Print Fellows, and International Print Fellows held in the MGSA Galleries: But, I don’t want to let the occasion pass without taking the opportunity to acknowledge once again what a marvelous event this is. You have done so much with so little, Judy. You set a very high standard for us all. . . . And thank you for bringing such wonderful printmaking to Rutgers.13 During its years at Rutgers, the Center was under the guidance of four directors. Brodsky retired from teaching in 2000, and Lynne Allen, who had come as master printer in 1988 and then was appointed to the faculty in the Department of Visual Arts, succeeded her as director. In 2005, Allen moved on to become the director of the School of Visual Arts at Boston University. Neither Brodsky nor Allen had released time to direct the Center; they each taught a full schedule of three courses a semester. After Allen left Rutgers, it was decided that it would serve the Center better to have a full-time director, rather than a faculty member who was also teaching. A national search was conducted, and Kathy Goncharov, an independent curator, became director. Goncharov curated the exhibition of Fred Wilson’s work for the United States Pavilion for the 1993 Venice Biennale, which included many Black and brown artists for the first time, and she had been the founding curator of contemporary art at the Nasher Museum of Art at Duke University. She resigned in 2009, and Brodsky was asked to step in until another director was hired. Tom Lollar left his position as director of the Lincoln Center print publishing program and became director of the Brodsky Center in 2010. He resigned in June 2012. Subsequently, Marti Mayo was appointed acting director of the Zimmerli Art Museum and the Brodsky Center. She brought in Paola Morsiani to direct the Brodsky Center. The Center moved to the Pennsylvania Academy of the Fine Arts in 2017, and Morsiani moved with it. (Professor Barbara Madsen established the Rutgers Print Collaborative at MGSA in its place at that time.) The Brodsky Center was fortunate in attracting master printers and papermakers of great skill. Their experience at the Center helped them develop their careers, and they moved on to become faculty members at other institutions of higher education. The first master printer Brodsky hired in 1986 was the late John Hutcheson, a Tamarind Master Printer who left to work with Ken Tyler as workshop manager for Tyler Graphics in Mount Kisco, New York; and later as master printer and workshop

manager for the Singapore Tyler Print Institute. He was replaced by Lynne Allen in 1988, who at that time was the Master Printer at the Tamarind Institute, training others to become master printers. Allen, herself, a Tamarind-trained master printer and a talented artist and teacher with at least two graduate degrees and several prestigious fellowships (including two Fulbrights) joined the Mason Gross School of the Arts visual arts faculty in 1989. She was succeeded by Eileen M. Foti, another Tamarind Master Printer. Foti was the master printer from 1989 to 2004, when she joined the faculty at Montclair State University. She presently teaches in the art department at William Paterson University. Foti wrote and coproduced an awardwinning documentary based on her visits to Artist Proof Studio (APS), Johannesburg, during the years in which the Brodsky Center was funded by Johnson & Johnson, to help APS and train its artists in collaboration techniques. Randy Hemminghaus joined the Brodsky Center staff in 2004. Hemminghaus already was well-known as a master printer and had worked with many distinguished artists before coming to the Brodsky Center. All the master printers were artists in their own right and held MFA degrees. Like Brodsky, they had fallen in love with printmaking and hand papermaking early in their careers and felt it was their lifelong calling. The papermaking studio was established in the early 1990s. Gail Deery was the first master papermaker. Deery had already established her reputation as an artist; she also held an MFA from Mason Gross School of the Arts. Deery subsequently became a faculty member at the Maryland Institute College of Art, where she chaired the printmaking department and was the co-director of Dolphin Press and Print (Dolphin Press and Print is a smaller version of the Brodsky Center). Anne McKeown replaced Deery in 2002 as master papermaker. McKeown holds an MFA from Yale University and, although now retired from Rutgers, is an active exhibiting artist. As described above, the mission of the Center was focused on the creation of projects that explored new cultural and aesthetic concepts. But the most idealistic organization needs administration. In the early years, the director managed the administrative side of the Center, writing grants, showing projects to museums and collectors for potential acquisition, and organizing exhibitions and programs. The creative staff also participated in administration, working with the director to select artists for residencies, planning the purchase of supplies and equipment, and improving the studios to make them more adequate for teaching as well as for residencies. Many staff members also curated traveling exhibitions, spoke at conferences, and gave guest lectures at local, national, and global venues in order to make visible the work of the Brodsky Center and to promote the university. For example, the Center hosted the 2004 annual meeting of Eileen M. Foti and Lynne Allen at the lecture given by the Southern Graphics Council, which was Russian artist Boris Belsky when he was in residence at organized by Allen. the Brodsky Center, c. 1990s The directors who came after Brodsky and Allen brought the Center to a new level of visibility. Goncharov and Lollar had more experience in the art market and determined that art fairs were important to the Center, not only for financial reasons, but also for making the Center’s projects known to curators, critics, and collectors.

Chakaia Booker working with Anne McKeown, c. 2008

The Brodsky Center studios, c. 2005

16

17 from 2007 to 2011. The RCIPP organized exhibitions of new editions created in its studios and also included exhibitions of graduate student work and local artists. A Rutgers University administrator wrote a fan letter soon after visiting the 1993 annual Brodsky Center exhibition of recent prints by New Jersey Print Fellows, National Print Fellows, and International Print Fellows held in the MGSA Galleries: But, I don’t want to let the occasion pass without taking the opportunity to acknowledge once again what a marvelous event this is. You have done so much with so little, Judy. You set a very high standard for us all. . . . And thank you for bringing such wonderful printmaking to Rutgers.13 During its years at Rutgers, the Center was under the guidance of four directors. Brodsky retired from teaching in 2000, and Lynne Allen, who had come as master printer in 1988 and then was appointed to the faculty in the Department of Visual Arts, succeeded her as director. In 2005, Allen moved on to become the director of the School of Visual Arts at Boston University. Neither Brodsky nor Allen had released time to direct the Center; they each taught a full schedule of three courses a semester. After Allen left Rutgers, it was decided that it would serve the Center better to have a full-time director, rather than a faculty member who was also teaching. A national search was conducted, and Kathy Goncharov, an independent curator, became director. Goncharov curated the exhibition of Fred Wilson’s work for the United States Pavilion for the 1993 Venice Biennale, which included many Black and brown artists for the first time, and she had been the founding curator of contemporary art at the Nasher Museum of Art at Duke University. She resigned in 2009, and Brodsky was asked to step in until another director was hired. Tom Lollar left his position as director of the Lincoln Center print publishing program and became director of the Brodsky Center in 2010. He resigned in June 2012. Subsequently, Marti Mayo was appointed acting director of the Zimmerli Art Museum and the Brodsky Center. She brought in Paola Morsiani to direct the Brodsky Center. The Center moved to the Pennsylvania Academy of the Fine Arts in 2017, and Morsiani moved with it. (Professor Barbara Madsen established the Rutgers Print Collaborative at MGSA in its place at that time.) The Brodsky Center was fortunate in attracting master printers and papermakers of great skill. Their experience at the Center helped them develop their careers, and they moved on to become faculty members at other institutions of higher education. The first master printer Brodsky hired in 1986 was the late John Hutcheson, a Tamarind Master Printer who left to work with Ken Tyler as workshop manager for Tyler Graphics in Mount Kisco, New York; and later as master printer and workshop

manager for the Singapore Tyler Print Institute. He was replaced by Lynne Allen in 1988, who at that time was the Master Printer at the Tamarind Institute, training others to become master printers. Allen, herself, a Tamarind-trained master printer and a talented artist and teacher with at least two graduate degrees and several prestigious fellowships (including two Fulbrights) joined the Mason Gross School of the Arts visual arts faculty in 1989. She was succeeded by Eileen M. Foti, another Tamarind Master Printer. Foti was the master printer from 1989 to 2004, when she joined the faculty at Montclair State University. She presently teaches in the art department at William Paterson University. Foti wrote and coproduced an awardwinning documentary based on her visits to Artist Proof Studio (APS), Johannesburg, during the years in which the Brodsky Center was funded by Johnson & Johnson, to help APS and train its artists in collaboration techniques. Randy Hemminghaus joined the Brodsky Center staff in 2004. Hemminghaus already was well-known as a master printer and had worked with many distinguished artists before coming to the Brodsky Center. All the master printers were artists in their own right and held MFA degrees. Like Brodsky, they had fallen in love with printmaking and hand papermaking early in their careers and felt it was their lifelong calling. The papermaking studio was established in the early 1990s. Gail Deery was the first master papermaker. Deery had already established her reputation as an artist; she also held an MFA from Mason Gross School of the Arts. Deery subsequently became a faculty member at the Maryland Institute College of Art, where she chaired the printmaking department and was the co-director of Dolphin Press and Print (Dolphin Press and Print is a smaller version of the Brodsky Center). Anne McKeown replaced Deery in 2002 as master papermaker. McKeown holds an MFA from Yale University and, although now retired from Rutgers, is an active exhibiting artist. As described above, the mission of the Center was focused on the creation of projects that explored new cultural and aesthetic concepts. But the most idealistic organization needs administration. In the early years, the director managed the administrative side of the Center, writing grants, showing projects to museums and collectors for potential acquisition, and organizing exhibitions and programs. The creative staff also participated in administration, working with the director to select artists for residencies, planning the purchase of supplies and equipment, and improving the studios to make them more adequate for teaching as well as for residencies. Many staff members also curated traveling exhibitions, spoke at conferences, and gave guest lectures at local, national, and global venues in order to make visible the work of the Brodsky Center and to promote the university. For example, the Center hosted the 2004 annual meeting of Eileen M. Foti and Lynne Allen at the lecture given by the Southern Graphics Council, which was Russian artist Boris Belsky when he was in residence at organized by Allen. the Brodsky Center, c. 1990s The directors who came after Brodsky and Allen brought the Center to a new level of visibility. Goncharov and Lollar had more experience in the art market and determined that art fairs were important to the Center, not only for financial reasons, but also for making the Center’s projects known to curators, critics, and collectors.

Chakaia Booker working with Anne McKeown, c. 2008

The Brodsky Center studios, c. 2005

18

19 The Brodsky Center participated annually in the Editions/Artists’ Books Fair, New York City; Art Basel, Miami; Pulse, New York City; Baltimore Museum of Art Print Fair; and others. Another development in visibility and fundraising was the annual gala held each year commencing in 2005. The first gala honored American artist and educator Will Barnet, influential from the 1930s on. He became known initially through teaching printmaking at the Harlem Community Art Center, funded under the Great Depression’s Federal Art Project (FAP). Will Barnet was celebrating his 94th birthday at the gala. Each year, the Center continued to honor distinguished artists or others in the print world. In addition to Barnet, honorees included Lynda Benglis, William Kentridge, Kiki Smith, and Richard Tuttle. These galas were a substantial source of income and visibility. People still talk about the exciting bidding war that took place during the auction at the Center’s 2012 gala. The Ghanaian artist El Anatsui, who had worked with Anne McKeown, experimenting for the first time with hand papermaking, was the talk of the art world for his metal tapestries made from detritus he found on the streets. These large artworks were being acquired by museums around the world. He gave the Center a small metal tapestry for the auction. The bidding went back and forth, reaching mid-six figures, making it the most successful gala in the Center’s history and providing the Center with funding for the rest of the fiscal year. Brodsky did not establish an advisory council initially. But by the turn of the century, the Center had grown substantially, and it was apparent that it should have an external advisory council. As a unit within an institution of higher education, it reported to the university, leaving an external board without fiscal power. Nevertheless, the Center established an advisory council in 2000. Even if it had no budgetary voice, the council was very helpful in outreach and fundraising. Council members were from different occupations—print collectors, financial advisors, corporate representatives, and lawyers. Their usefulness went far beyond financial contributions; they provided contacts with curators, collectors, and critics. In establishing the financial base for the Center, Brodsky’s concept was to use science institutes as a model. Rutgers and other universities require science institutes to raise their own funds. Brodsky was an experienced fundraiser and believed that it would be possible to support the Center with external funds as well. As a university administrator, she realized that she would be met with skepticism if she asked the university to fund an arts research institute.14 Therefore, the Center was set up by Brodsky with university support that was already in place—her salary as a professor, and that of the printmaking area technician, and visual arts department studios that were already in use for teaching printmaking—rather than with additional allocations. Except for 2009, the year of the economic crash, her concept proved to be accurate and viable—not only during the years that she directed the Center, but also under the three directors who were responsible for the Center after her retirement. The Center raised its own operating funds and sustained its own financial viability. The Center’s state-of-the-art facilities and equipment, which served both visiting artists and Visual Arts students, were purchased through external funds. It was equipped to produce work in virtually all print media. Video was also used by some artists in their projects. The Brodsky Center’s revenue over the years came from a combination of grants, sales, and contributions, and for a short time, from an online course. Just a word about the fourth source of revenue. In 2009–2010, when online credit-bearing courses were a new phenomenon, the university set out to encourage faculty to create and teach them by offering an enticement: after a small percentage was set aside for the central administration and the individual school administration,

the remainder of the tuition would go to the originating unit. The Center created an art appreciation course with the idea in mind that the revenue could become a stabilizing factor in the Center’s budget. That proved to be the case. The course helped to fund the Brodsky Center for a year or two until online teaching became an accepted and successful venture and the income stream was distributed differently. During its three decades at Rutgers, the Center received grants from a broad range of funding agencies. These grants not only secured the Center’s financial viability, but also conferred prestige and recognition on the Brodsky Center and on the university. Funding support came from, among others, the Academy of Medicine of New Jersey, Andy Warhol Foundation for the Visual Arts, Citizens Exchange Council (CEC), Geraldine R. Dodge Foundation, Elizabeth Foundation for the Arts (EFA), Johnson & Johnson (J&J), Karma Foundation, Mid Atlantic Arts Foundation, Mid-America Arts Alliance, National Endowment for the Arts, New Jersey Council for the Humanities, New Jersey State Council on the Arts, The Pew Charitable Trusts, Richard Florsheim Art Fund, Rutgers University (individual special grant programs, including Rutgers Research Council), United States Information Agency (USIA), United States Agency for International Development (USAID), the Trust for Mutual Understanding (TMU), and the Zimmerli Art Museum, as well as private donors. While sales revenue was essential to the Center’s financial sustainability, it was also a sign that the Center was achieving its goal of providing the opportunity for the concepts of women artists and Black, brown, and Indigenous artists to enter the mainstream of American and global culture. Brodsky Center editions were acquired by many prestigious institutions. Some of the acquisition highlights include the Baltimore Museum of Art (Maryland); Bibliothèque nationale de France (Paris); Cleveland Museum of Art; (Ohio); Library of Congress, National Museum of Women in the Arts, Smithsonian American Art Museum, (Washington, DC); Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Whitney Museum of American Art (New York); National Gallery of Australia (Canberra); Newark Museum of Art (New Jersey); Philadelphia Museum of Art (Pennsylvania); Stadtmuseum Berlin (Germany); and Victoria and Albert Museum (London). These purchases were only direct sales by the Brodsky Center. The policy during the Rutgers years was to give each artist half of the edition, allowing the artists and their gallerists to also distribute prints.

18

19 The Brodsky Center participated annually in the Editions/Artists’ Books Fair, New York City; Art Basel, Miami; Pulse, New York City; Baltimore Museum of Art Print Fair; and others. Another development in visibility and fundraising was the annual gala held each year commencing in 2005. The first gala honored American artist and educator Will Barnet, influential from the 1930s on. He became known initially through teaching printmaking at the Harlem Community Art Center, funded under the Great Depression’s Federal Art Project (FAP). Will Barnet was celebrating his 94th birthday at the gala. Each year, the Center continued to honor distinguished artists or others in the print world. In addition to Barnet, honorees included Lynda Benglis, William Kentridge, Kiki Smith, and Richard Tuttle. These galas were a substantial source of income and visibility. People still talk about the exciting bidding war that took place during the auction at the Center’s 2012 gala. The Ghanaian artist El Anatsui, who had worked with Anne McKeown, experimenting for the first time with hand papermaking, was the talk of the art world for his metal tapestries made from detritus he found on the streets. These large artworks were being acquired by museums around the world. He gave the Center a small metal tapestry for the auction. The bidding went back and forth, reaching mid-six figures, making it the most successful gala in the Center’s history and providing the Center with funding for the rest of the fiscal year. Brodsky did not establish an advisory council initially. But by the turn of the century, the Center had grown substantially, and it was apparent that it should have an external advisory council. As a unit within an institution of higher education, it reported to the university, leaving an external board without fiscal power. Nevertheless, the Center established an advisory council in 2000. Even if it had no budgetary voice, the council was very helpful in outreach and fundraising. Council members were from different occupations—print collectors, financial advisors, corporate representatives, and lawyers. Their usefulness went far beyond financial contributions; they provided contacts with curators, collectors, and critics. In establishing the financial base for the Center, Brodsky’s concept was to use science institutes as a model. Rutgers and other universities require science institutes to raise their own funds. Brodsky was an experienced fundraiser and believed that it would be possible to support the Center with external funds as well. As a university administrator, she realized that she would be met with skepticism if she asked the university to fund an arts research institute.14 Therefore, the Center was set up by Brodsky with university support that was already in place—her salary as a professor, and that of the printmaking area technician, and visual arts department studios that were already in use for teaching printmaking—rather than with additional allocations. Except for 2009, the year of the economic crash, her concept proved to be accurate and viable—not only during the years that she directed the Center, but also under the three directors who were responsible for the Center after her retirement. The Center raised its own operating funds and sustained its own financial viability. The Center’s state-of-the-art facilities and equipment, which served both visiting artists and Visual Arts students, were purchased through external funds. It was equipped to produce work in virtually all print media. Video was also used by some artists in their projects. The Brodsky Center’s revenue over the years came from a combination of grants, sales, and contributions, and for a short time, from an online course. Just a word about the fourth source of revenue. In 2009–2010, when online credit-bearing courses were a new phenomenon, the university set out to encourage faculty to create and teach them by offering an enticement: after a small percentage was set aside for the central administration and the individual school administration,

the remainder of the tuition would go to the originating unit. The Center created an art appreciation course with the idea in mind that the revenue could become a stabilizing factor in the Center’s budget. That proved to be the case. The course helped to fund the Brodsky Center for a year or two until online teaching became an accepted and successful venture and the income stream was distributed differently. During its three decades at Rutgers, the Center received grants from a broad range of funding agencies. These grants not only secured the Center’s financial viability, but also conferred prestige and recognition on the Brodsky Center and on the university. Funding support came from, among others, the Academy of Medicine of New Jersey, Andy Warhol Foundation for the Visual Arts, Citizens Exchange Council (CEC), Geraldine R. Dodge Foundation, Elizabeth Foundation for the Arts (EFA), Johnson & Johnson (J&J), Karma Foundation, Mid Atlantic Arts Foundation, Mid-America Arts Alliance, National Endowment for the Arts, New Jersey Council for the Humanities, New Jersey State Council on the Arts, The Pew Charitable Trusts, Richard Florsheim Art Fund, Rutgers University (individual special grant programs, including Rutgers Research Council), United States Information Agency (USIA), United States Agency for International Development (USAID), the Trust for Mutual Understanding (TMU), and the Zimmerli Art Museum, as well as private donors. While sales revenue was essential to the Center’s financial sustainability, it was also a sign that the Center was achieving its goal of providing the opportunity for the concepts of women artists and Black, brown, and Indigenous artists to enter the mainstream of American and global culture. Brodsky Center editions were acquired by many prestigious institutions. Some of the acquisition highlights include the Baltimore Museum of Art (Maryland); Bibliothèque nationale de France (Paris); Cleveland Museum of Art; (Ohio); Library of Congress, National Museum of Women in the Arts, Smithsonian American Art Museum, (Washington, DC); Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Whitney Museum of American Art (New York); National Gallery of Australia (Canberra); Newark Museum of Art (New Jersey); Philadelphia Museum of Art (Pennsylvania); Stadtmuseum Berlin (Germany); and Victoria and Albert Museum (London). These purchases were only direct sales by the Brodsky Center. The policy during the Rutgers years was to give each artist half of the edition, allowing the artists and their gallerists to also distribute prints.

20

21 World-famous American artists like Kiki Smith, Miriam Schapiro, Kerry James Marshall, Richard Tuttle, and Pepón Osorio made new work at the Center with its skilled master printers and papermakers. Brodsky’s fellowship program for New Jersey artists to have access to the Center brought artists like Renée Green, Willie Cole, and Gloria Rodríguez Calero. International artists representing Africa, the Middle East, Eastern Europe, Latin America, and Asia also created work at the Center. These included William Kentridge and Kim Berman (South Africa), Parastou Forouhar and Farah Oussoli (Iran), Eduardo Fausti (Argentina), Elena Elagina and Igor Makarevich (Russia), Yong Soon Min (Korea), Hew Locke (Guyana and United Kingdom), Milcah Bassel (Israel), Pacita Abad (Philippines), and El Anatsui (Ghana and Nigeria). Through the decades since the Center’s founding, diversity has remained central to its mission, and it has consistently supported women and artists of color. During its 30 years at Rutgers, almost 400 artists were in residence to create new work in printmaking and hand papermaking. Of these artists, 60 percent were women and 40 percent were Black, brown, or Indigenous. It is important to remember that this extraordinary diversity took place during a period otherwise dominated by white heterosexual males. Within the context of the state, national, and worldwide art communities, the Brodsky Center counters a prevailing idea about culture in New Jersey that began as long ago as the 18th century, when Benjamin Franklin was alleged to say that “New Jersey is like a live keg of beer with all of its liquid flowing to New York and Philadelphia.” Instead, the Brodsky Center was a magnet attracting New Jersey– based artists, as well as those living in New York, Philadelphia, the rest of the nation, and well beyond its borders, to innovate and create works of art in central New Jersey. It fulfilled Rutgers University’s former motto, “Local roots, global reach.”

Hew Locke working at the Brodsky Center, 2007

Kiki Smith in the Brodsky Center studios with students, c. 2000s

Willie Cole in the Brodsky Center Studio (left) and drawing on a lithography aluminum plate (right), 2002

II. Impressit: They Printed It

Judith K. Brodsky believed that those involved in the visual arts should engage in public service. She often declared that having been trained to be creative in solving problems, artists and others in the visual arts had an obligation to serve their communities. Communities, she declared, were missing out if artists were not called upon to participate. Thus, over the decades, she and the staff engaged in various ways to provide programs to multiple publics. The first and most lengthy of these programs was the New Jersey Print Fellowship Program, begun in 1987, which continued throughout the Brodsky Center’s Rutgers years with a name change to the New Jersey Print and Paper Fellowship Program with the addition of the papermaking studio. Artists who want to make prints need presses and supplies that are not ordinarily available to individual artists. They need access to studios that can accommodate them. Since there were no professional print studios in New Jersey other than at academic institutions, where they were available only to enrolled students, starting almost immediately after she founded the Center, Brodsky established six annual fellowships for New Jersey artists. These were competitive residencies selected by out-of-state curators and artists, so as not to have Brodsky or the Center accused of favoritism. Selection committees included well-known figures like Ofelia Garcia, former director of The Print Center, Philadelphia, former college president, and scholar. Integral to the program was also furthering the artists’ careers beyond the creation of new work. Brodsky contacted the major museums in New Jersey—the New Jersey State Museum, the Montclair Art Museum, the Noyes Museum of Art, Newark Public Library (the founder of The Newark Museum of Art and the Newark Public Library, John Cotton Dana, had placed collecting prints as the responsibility of the library rather than the museum), and the Hunterdon Art Museum—and offered impressions from the editions for their collections. Impressions were also allocated for the New Jersey State Council on the Arts, which helped to fund the fellowship program. These gifts provided artists in the state the permanence of having their work in museum collections, the dream of every artist, and the visibility that these museums could provide over the years through exhibiting their work. The New Jersey State Council on the Arts placed the prints it received in public locations, like the New Jersey State House. Also, in the first year of the Center, Brodsky conceived of what she titled the National Fellowship Program for Artists of Color. She consulted with curators throughout the United States to identify artists of color in their regions and invited Faith Ringgold,

20

21 World-famous American artists like Kiki Smith, Miriam Schapiro, Kerry James Marshall, Richard Tuttle, and Pepón Osorio made new work at the Center with its skilled master printers and papermakers. Brodsky’s fellowship program for New Jersey artists to have access to the Center brought artists like Renée Green, Willie Cole, and Gloria Rodríguez Calero. International artists representing Africa, the Middle East, Eastern Europe, Latin America, and Asia also created work at the Center. These included William Kentridge and Kim Berman (South Africa), Parastou Forouhar and Farah Oussoli (Iran), Eduardo Fausti (Argentina), Elena Elagina and Igor Makarevich (Russia), Yong Soon Min (Korea), Hew Locke (Guyana and United Kingdom), Milcah Bassel (Israel), Pacita Abad (Philippines), and El Anatsui (Ghana and Nigeria). Through the decades since the Center’s founding, diversity has remained central to its mission, and it has consistently supported women and artists of color. During its 30 years at Rutgers, almost 400 artists were in residence to create new work in printmaking and hand papermaking. Of these artists, 60 percent were women and 40 percent were Black, brown, or Indigenous. It is important to remember that this extraordinary diversity took place during a period otherwise dominated by white heterosexual males. Within the context of the state, national, and worldwide art communities, the Brodsky Center counters a prevailing idea about culture in New Jersey that began as long ago as the 18th century, when Benjamin Franklin was alleged to say that “New Jersey is like a live keg of beer with all of its liquid flowing to New York and Philadelphia.” Instead, the Brodsky Center was a magnet attracting New Jersey– based artists, as well as those living in New York, Philadelphia, the rest of the nation, and well beyond its borders, to innovate and create works of art in central New Jersey. It fulfilled Rutgers University’s former motto, “Local roots, global reach.”

Hew Locke working at the Brodsky Center, 2007

Kiki Smith in the Brodsky Center studios with students, c. 2000s

Willie Cole in the Brodsky Center Studio (left) and drawing on a lithography aluminum plate (right), 2002

II. Impressit: They Printed It

Judith K. Brodsky believed that those involved in the visual arts should engage in public service. She often declared that having been trained to be creative in solving problems, artists and others in the visual arts had an obligation to serve their communities. Communities, she declared, were missing out if artists were not called upon to participate. Thus, over the decades, she and the staff engaged in various ways to provide programs to multiple publics. The first and most lengthy of these programs was the New Jersey Print Fellowship Program, begun in 1987, which continued throughout the Brodsky Center’s Rutgers years with a name change to the New Jersey Print and Paper Fellowship Program with the addition of the papermaking studio. Artists who want to make prints need presses and supplies that are not ordinarily available to individual artists. They need access to studios that can accommodate them. Since there were no professional print studios in New Jersey other than at academic institutions, where they were available only to enrolled students, starting almost immediately after she founded the Center, Brodsky established six annual fellowships for New Jersey artists. These were competitive residencies selected by out-of-state curators and artists, so as not to have Brodsky or the Center accused of favoritism. Selection committees included well-known figures like Ofelia Garcia, former director of The Print Center, Philadelphia, former college president, and scholar. Integral to the program was also furthering the artists’ careers beyond the creation of new work. Brodsky contacted the major museums in New Jersey—the New Jersey State Museum, the Montclair Art Museum, the Noyes Museum of Art, Newark Public Library (the founder of The Newark Museum of Art and the Newark Public Library, John Cotton Dana, had placed collecting prints as the responsibility of the library rather than the museum), and the Hunterdon Art Museum—and offered impressions from the editions for their collections. Impressions were also allocated for the New Jersey State Council on the Arts, which helped to fund the fellowship program. These gifts provided artists in the state the permanence of having their work in museum collections, the dream of every artist, and the visibility that these museums could provide over the years through exhibiting their work. The New Jersey State Council on the Arts placed the prints it received in public locations, like the New Jersey State House. Also, in the first year of the Center, Brodsky conceived of what she titled the National Fellowship Program for Artists of Color. She consulted with curators throughout the United States to identify artists of color in their regions and invited Faith Ringgold,

22

23 who had by then moved to Englewood, New Jersey, to choose the artists for residencies and to have a residency herself. As time went on, the name of the fellowship was dropped in favor of themed names for residencies that addressed the gaps in mainstream culture. Several were outstanding. One year of residencies concentrated on Latina artists from different cultural backgrounds. Carmen Inés Blondet and María de Mater O’Neill represented the mixed heritage of Puerto Rican contemporary artists; Blondet, a sculptor of monumental public work, worked in an international modernist abstract style, and O’Neill combined nonbinary imagery with political commentary. Yolanda López, Carmen Lomas Garza, and Amalia MesaBains were artists who represented the West Coast Mexican American heritage. López electrified students when, at her first appearance in the classroom of some 30 to 40 students, she involved them in making a list of the various epithets used by racists for Spanish-speaking Americans. With a grant from a program encouraging innovation established by the president of the university, the Center was able in the 1990s to acquire the video equipment that made it possible to hold a class cosponsored by Rutgers and the University of Puerto Rico. There was a wonderful moment that illustrated the importance of cultural interaction. Students in the Rutgers classroom questioned how O’Neill could declare herself a feminist when she wore clothes that were so revealing of her body. She laughed and answered the query by saying that the student who asked the question forgot that the climate of Puerto Rico was hot, and that she was dressed not to be sexually alluring to men (she is a lesbian), but rather to stay cool. Laura Anderson Barbata, another Spanishspeaking artist, worked with papermaker Gail Deery on an edition that was based on the loss of hundreds of Indigenous spoken languages in the Americas due to white cultural dominance. Starting in 1989, the National Endowment for the Arts funded the National Fellowship Program for Artists of Color so that the RCIP could provide opportunities for artists who were contributing new narratives to the American cultural mainstream. Artists who represented the rich cultural diversity in the United States were hosted. Among the first artists-in-residence were Yong Soon Min (Korean American), Margo Humphrey and Nanette Carter (both African American), James Lavadour (Native American), and Pacita Abad (Filipino American). Lynne Allen, having been to the former USSR under a United States Department of State grant, conceived of an exchange program with the Union of Artists of the former Soviet Union, hosting Russian artists at Rutgers through the late 1980s and early 1990s and sending visual arts department faculty members to Russia. It was during this time that the Center connected with the Zimmerli Art Museum Dodge Collection of Soviet Nonconformist Art. In another year, the artists-in-residence were from geographically diverse Native American nations: Rick Bartow, a West Coast artist who was an enrolled member of the Mad River Band of the Wiyot Tribe, made a diptych filled with Native American imagery and symbolism; Joe Feddersen, another West Coast artist, a member of the Confederated Tribes of the Colville Reservation in Washington State, worked with abstract motifs derived from basketry in a color lithograph; James Lavadour, from the Walla Walla tribe of the Confederated Tribes of the Umatilla Indian Reservation in Oregon, worked on landscapes, memorializing the fact that the land had originally belonged to the Indigenous peoples of America; during a couple of residencies, Jaune Quick-to-See Smith, a member of the Confederated Salish and Kootenai Tribes of the Flathead Reservation and also of Métis and Shoshone descent, worked on handmade paper projects; George Longfish, a member of the Seneca and Tuscarora Nations, created a triptych about his self-identity; and Melanie Yazzie, a member of the Diné (Navajo Nation), worked on a pulp paper project.

Thanks to a 2014–2015 National Endowment for the Arts grant, the Brodsky Center hosted several women artists from the Middle Eastern diaspora. Selection of the artists was inspired by a 2012–2013 initiative called The Fertile Crescent: Gender, Art, and Society. In 2007 Brodsky and Ferris Olin began to plan an exhibition of women artists from that region. The project grew to 14 exhibitions and 55 programs held between summer 2012 and January 2013. Brodsky and Olin brought together institutional collaborators including Rutgers and Princeton Universities; the Institute for Advanced Study; East Brunswick, New Brunswick and Princeton Public Libraries; and the Arts Council of Princeton to host artists, scholars, performers, and journalists for that period. The National Endowment for the Arts grant developed out of that experience and brought back to campus several of the participating artists, as well as others from the region. They included Zeina Barakeh, Milcah Bassel, Parastou Forouhar, and Farah Ossouli. The Brodsky Center illustrated how an academic art center could also be a contributing member to many other communities. It partnered with sister art organizations to create work to benefit them financially. In the 1990s, while Judith K. Brodsky was serving on the board of directors of the College Art Association (CAA), the largest national and international organization for instructors in studio art and art history, and many other visual arts professionals, she worked with other leaders of the organization to establish their Professional Development Fellowship Program, whose mission was to increase the diversity of candidate pools for professional artists and art historians. Brodsky offered the services of the RCIPP, donating the cost of publishing prints so that artists such as Willie Cole, Sam Gilliam, Kerry James Marshall, Faith Ringgold, Miriam Schapiro, and Kiki Smith could produce prints, which were sold to benefit the CAA’s fellowship program and to supplement the external grants awarded to develop the organization’s other programs. The Center also collaborated with Aljira, a contemporary art center established in Newark, New Jersey, by Victor Davson. The Brodsky Center made print editions by Mickalene Thomas and Frank Bowling to raise funds in support of the art center. The Medical Society of New Jersey annually commissioned the Center to create prints— for example, Eduardo Fausti’s Homage to William Carlos Williams, 1997 (Plate 51) in recognition of the fact that during all his years as a poet, Williams also carried on his profession as a physician. When the Department of Art and Design, MGSA, lost its first student to AIDS, the Brodsky Center published prints by Emma Amos and Melvin Edwards to establish a student award in his commemoration, and in another instance, prints by Leon Golub and Peter Stroud were created and then sold to establish the first award for a student graduating from Department of Art and Design, MGSA. Additionally, The Print Club of New York collaborated with the Brodsky Center to create several of its annual commissioned presentation prints by Will Barnet, Elizabeth Catlett, Faith Ringgold, and Joan Snyder. The Brodsky Center donated works on paper to local nonprofits, including libraries and arts institutions like the Jersey City Museum and the Philadelphia Print Collaborative. In 2007, the Brodsky Center produced the Rivington Place Portfolio, a suite of six prints and one threedimensional print in paper, in collaboration with InIVA (Institute of International Visual Arts), London’s first visual arts organization dedicated to nurturing and disseminating radical and emergent contemporary artistic practice centering on African, Asian, and Caribbean diaspora perspectives. Sales of the portfolio helped to fund the construction of Rivington Place, the first gallery and art center designed by David Adjaye. The artists who participated included Sonia Boyce, Isaac Julien, Glenn Ligon, Hew Locke, Chris Ofili, and Carrie Mae Weems. In 2005, the artist and print impresario June Wayne, who had been responsible for the renaissance of printmaking in the United States through her establishment of the Tamarind Lithography Workshop, validated the importance of the Center by choosing to gift it her personal art collection.

22

23 who had by then moved to Englewood, New Jersey, to choose the artists for residencies and to have a residency herself. As time went on, the name of the fellowship was dropped in favor of themed names for residencies that addressed the gaps in mainstream culture. Several were outstanding. One year of residencies concentrated on Latina artists from different cultural backgrounds. Carmen Inés Blondet and María de Mater O’Neill represented the mixed heritage of Puerto Rican contemporary artists; Blondet, a sculptor of monumental public work, worked in an international modernist abstract style, and O’Neill combined nonbinary imagery with political commentary. Yolanda López, Carmen Lomas Garza, and Amalia MesaBains were artists who represented the West Coast Mexican American heritage. López electrified students when, at her first appearance in the classroom of some 30 to 40 students, she involved them in making a list of the various epithets used by racists for Spanish-speaking Americans. With a grant from a program encouraging innovation established by the president of the university, the Center was able in the 1990s to acquire the video equipment that made it possible to hold a class cosponsored by Rutgers and the University of Puerto Rico. There was a wonderful moment that illustrated the importance of cultural interaction. Students in the Rutgers classroom questioned how O’Neill could declare herself a feminist when she wore clothes that were so revealing of her body. She laughed and answered the query by saying that the student who asked the question forgot that the climate of Puerto Rico was hot, and that she was dressed not to be sexually alluring to men (she is a lesbian), but rather to stay cool. Laura Anderson Barbata, another Spanishspeaking artist, worked with papermaker Gail Deery on an edition that was based on the loss of hundreds of Indigenous spoken languages in the Americas due to white cultural dominance. Starting in 1989, the National Endowment for the Arts funded the National Fellowship Program for Artists of Color so that the RCIP could provide opportunities for artists who were contributing new narratives to the American cultural mainstream. Artists who represented the rich cultural diversity in the United States were hosted. Among the first artists-in-residence were Yong Soon Min (Korean American), Margo Humphrey and Nanette Carter (both African American), James Lavadour (Native American), and Pacita Abad (Filipino American). Lynne Allen, having been to the former USSR under a United States Department of State grant, conceived of an exchange program with the Union of Artists of the former Soviet Union, hosting Russian artists at Rutgers through the late 1980s and early 1990s and sending visual arts department faculty members to Russia. It was during this time that the Center connected with the Zimmerli Art Museum Dodge Collection of Soviet Nonconformist Art. In another year, the artists-in-residence were from geographically diverse Native American nations: Rick Bartow, a West Coast artist who was an enrolled member of the Mad River Band of the Wiyot Tribe, made a diptych filled with Native American imagery and symbolism; Joe Feddersen, another West Coast artist, a member of the Confederated Tribes of the Colville Reservation in Washington State, worked with abstract motifs derived from basketry in a color lithograph; James Lavadour, from the Walla Walla tribe of the Confederated Tribes of the Umatilla Indian Reservation in Oregon, worked on landscapes, memorializing the fact that the land had originally belonged to the Indigenous peoples of America; during a couple of residencies, Jaune Quick-to-See Smith, a member of the Confederated Salish and Kootenai Tribes of the Flathead Reservation and also of Métis and Shoshone descent, worked on handmade paper projects; George Longfish, a member of the Seneca and Tuscarora Nations, created a triptych about his self-identity; and Melanie Yazzie, a member of the Diné (Navajo Nation), worked on a pulp paper project.

Thanks to a 2014–2015 National Endowment for the Arts grant, the Brodsky Center hosted several women artists from the Middle Eastern diaspora. Selection of the artists was inspired by a 2012–2013 initiative called The Fertile Crescent: Gender, Art, and Society. In 2007 Brodsky and Ferris Olin began to plan an exhibition of women artists from that region. The project grew to 14 exhibitions and 55 programs held between summer 2012 and January 2013. Brodsky and Olin brought together institutional collaborators including Rutgers and Princeton Universities; the Institute for Advanced Study; East Brunswick, New Brunswick and Princeton Public Libraries; and the Arts Council of Princeton to host artists, scholars, performers, and journalists for that period. The National Endowment for the Arts grant developed out of that experience and brought back to campus several of the participating artists, as well as others from the region. They included Zeina Barakeh, Milcah Bassel, Parastou Forouhar, and Farah Ossouli. The Brodsky Center illustrated how an academic art center could also be a contributing member to many other communities. It partnered with sister art organizations to create work to benefit them financially. In the 1990s, while Judith K. Brodsky was serving on the board of directors of the College Art Association (CAA), the largest national and international organization for instructors in studio art and art history, and many other visual arts professionals, she worked with other leaders of the organization to establish their Professional Development Fellowship Program, whose mission was to increase the diversity of candidate pools for professional artists and art historians. Brodsky offered the services of the RCIPP, donating the cost of publishing prints so that artists such as Willie Cole, Sam Gilliam, Kerry James Marshall, Faith Ringgold, Miriam Schapiro, and Kiki Smith could produce prints, which were sold to benefit the CAA’s fellowship program and to supplement the external grants awarded to develop the organization’s other programs. The Center also collaborated with Aljira, a contemporary art center established in Newark, New Jersey, by Victor Davson. The Brodsky Center made print editions by Mickalene Thomas and Frank Bowling to raise funds in support of the art center. The Medical Society of New Jersey annually commissioned the Center to create prints— for example, Eduardo Fausti’s Homage to William Carlos Williams, 1997 (Plate 51) in recognition of the fact that during all his years as a poet, Williams also carried on his profession as a physician. When the Department of Art and Design, MGSA, lost its first student to AIDS, the Brodsky Center published prints by Emma Amos and Melvin Edwards to establish a student award in his commemoration, and in another instance, prints by Leon Golub and Peter Stroud were created and then sold to establish the first award for a student graduating from Department of Art and Design, MGSA. Additionally, The Print Club of New York collaborated with the Brodsky Center to create several of its annual commissioned presentation prints by Will Barnet, Elizabeth Catlett, Faith Ringgold, and Joan Snyder. The Brodsky Center donated works on paper to local nonprofits, including libraries and arts institutions like the Jersey City Museum and the Philadelphia Print Collaborative. In 2007, the Brodsky Center produced the Rivington Place Portfolio, a suite of six prints and one threedimensional print in paper, in collaboration with InIVA (Institute of International Visual Arts), London’s first visual arts organization dedicated to nurturing and disseminating radical and emergent contemporary artistic practice centering on African, Asian, and Caribbean diaspora perspectives. Sales of the portfolio helped to fund the construction of Rivington Place, the first gallery and art center designed by David Adjaye. The artists who participated included Sonia Boyce, Isaac Julien, Glenn Ligon, Hew Locke, Chris Ofili, and Carrie Mae Weems. In 2005, the artist and print impresario June Wayne, who had been responsible for the renaissance of printmaking in the United States through her establishment of the Tamarind Lithography Workshop, validated the importance of the Center by choosing to gift it her personal art collection.

24

25 This collection consisted of editions of her own work and editions she published after transferring the Tamarind Lithography Workshop to the University of New Mexico. For five years, Wayne was a visiting research professor at the Center. She came to the Center each semester to work with students and to create new prints. The Center, in conjunction with Rutgers University Press, published the catalogue raisonné of her work, and the Center gave a representative selection of Wayne’s works to the Zimmerli Art Museum.

June Wayne working on her print at the Brodsky Center, 2006

In addition to the fact that it was able to sustain an annual income, the Center came to hold several long-term assets. A one-time gift of $500,000 to the Rutgers University Foundation established an endowment fund. Each year it was augmented with revenue from the galas so that, by the end of its period at Rutgers, the account was hovering at a million dollars. In addition, the Center built an important inventory of innovative works in paper and print by established and emerging artists.

Over the Rutgers decades, the Center sought opportunities to work with high school students, such as the collaboration from 2006 to 2009 with the North Brunswick High School Art Honor Society (New Jersey), led by art teacher Rebecca Pitts. Artists-in-residence at the Brodsky Center visited the high school to give talks and demonstrations. The artists then collaborated with the students on a project that was exhibited in the Brodsky Center Annual Exhibition. Involved in this collaboration were Rina Banerjee, 2006; Molefe Thwala, and Motsamai Thabane, 2007; Kevin O’Neill and Karisa Senavitis from the collaborative duo Will Work for Good, 2008; and Skylar Fein, 2009. These partnerships afforded the high school art students the opportunity to meet and learn from working artists, as well as have their own artwork exhibited in a university gallery. The collaborations were funded by Arts Education Special Initiative grants from the New Jersey State Council on the Arts and Johnson & Johnson. Made aware of the need for special education programs focused on the arts by a staff member with a child who was diagnosed as autistic, the Brodsky Center developed a workshop program to teach papermaking to children with disabilities, ranging from ages 4 to 16, enrolled in special education at a local school. The participants used stencils, pigmented pulp, molds, and deckles—all tools from the Brodsky Center’s state-of-the-art papermaking studio. With its appealing tactility, paper pulp challenged the children to overcome textural aversions and gave them a sense of pride from participating in a highly creative activity. The staff became so involved that they would bring the wet pieces back to the studio to dry and then return them to the school so students could take home their finished artwork.

Lázaro Saavedra González signing editions at the Brodsky Center, 2000

David Grant, president and CEO of the Geraldine R. Dodge Foundation at the time cited the Brodsky Center’s “significant contribution to the artistic vitality of our state” when awarding funds to support the center’s activities, including its public schools initiative. “We are particularly impressed by the extraordinary quality associated with every aspect of the Brodsky Center. The combination of remarkably talented, innovative artists and highly skilled, dedicated craftspeople coalesces to produce some of the most interesting art I have ever seen.”15 The Art on Loan Program was instituted by the Brodsky Center in 2008 to enrich the Rutgers environment as well as to encourage faculty and staff to collect art. Members of the university community were invited to come to the Center and choose prints for their sites. The Center then delivered and installed framed work in various departments. The departments and buildings on the New Brunswick campus with Brodsky Center artwork on their walls were the Alexander Library, the offices of the Department of Anthropology, the Bildner Center for Jewish Studies, the Center for European Studies, the School of Nursing, the Counseling and Psychological Services offices, the Douglass College dean’s office, the Douglass dean’s residence, the Institute for Women’s Leadership, the Department of Political Science, Rutgers University Press, the School of Arts and Sciences dean’s office, the Department of Women’s and Gender Studies, and the Plangere Writing Center at the Department of English, as well as a number of personal offices and classrooms. To fulfill the goal of making print and paper media more visible to the general public, Brodsky and subsequent directors organized national and international traveling exhibitions and conferences. In the early to mid 1990s, the Center joined with the Print Center (Philadelphia), Lower East Side Printshop (New York), and Pyramid Atlantic (Riverdale, Maryland), all not-for-profit print centers, to organize Crossing Over Changing Places, an international and national exhibition, curated by Jane Farmer and funded by the Pew Charitable Trusts and the United States Information Agency, which was exhibited throughout the United States and in over 20 venues in Europe, including former Soviet-dominated Eastern European countries. Staff from the four studios traveled to various cities on the tour, giving workshops and lectures in countries unfamiliar with contemporary American visual art. These international audiences were startled by the diversity and inclusivity of Black and brown artists, a contrast to the ethnic and racial homogeneity of their own countries. Beginning in 2002, the exhibition 100 New Jersey Artists Make Prints: Fifteen Years of the Rutgers Center for Innovative Print and Paper, traveled throughout the United States, then went to Cape Town, South Africa; Maputo, Mozambique; and Amman, Jordan (it was also scheduled to go the West Bank, the area contested by Israel and the Palestinians, but hostilities broke out).

24

25 This collection consisted of editions of her own work and editions she published after transferring the Tamarind Lithography Workshop to the University of New Mexico. For five years, Wayne was a visiting research professor at the Center. She came to the Center each semester to work with students and to create new prints. The Center, in conjunction with Rutgers University Press, published the catalogue raisonné of her work, and the Center gave a representative selection of Wayne’s works to the Zimmerli Art Museum.

June Wayne working on her print at the Brodsky Center, 2006

In addition to the fact that it was able to sustain an annual income, the Center came to hold several long-term assets. A one-time gift of $500,000 to the Rutgers University Foundation established an endowment fund. Each year it was augmented with revenue from the galas so that, by the end of its period at Rutgers, the account was hovering at a million dollars. In addition, the Center built an important inventory of innovative works in paper and print by established and emerging artists.

Over the Rutgers decades, the Center sought opportunities to work with high school students, such as the collaboration from 2006 to 2009 with the North Brunswick High School Art Honor Society (New Jersey), led by art teacher Rebecca Pitts. Artists-in-residence at the Brodsky Center visited the high school to give talks and demonstrations. The artists then collaborated with the students on a project that was exhibited in the Brodsky Center Annual Exhibition. Involved in this collaboration were Rina Banerjee, 2006; Molefe Thwala, and Motsamai Thabane, 2007; Kevin O’Neill and Karisa Senavitis from the collaborative duo Will Work for Good, 2008; and Skylar Fein, 2009. These partnerships afforded the high school art students the opportunity to meet and learn from working artists, as well as have their own artwork exhibited in a university gallery. The collaborations were funded by Arts Education Special Initiative grants from the New Jersey State Council on the Arts and Johnson & Johnson. Made aware of the need for special education programs focused on the arts by a staff member with a child who was diagnosed as autistic, the Brodsky Center developed a workshop program to teach papermaking to children with disabilities, ranging from ages 4 to 16, enrolled in special education at a local school. The participants used stencils, pigmented pulp, molds, and deckles—all tools from the Brodsky Center’s state-of-the-art papermaking studio. With its appealing tactility, paper pulp challenged the children to overcome textural aversions and gave them a sense of pride from participating in a highly creative activity. The staff became so involved that they would bring the wet pieces back to the studio to dry and then return them to the school so students could take home their finished artwork.

Lázaro Saavedra González signing editions at the Brodsky Center, 2000

David Grant, president and CEO of the Geraldine R. Dodge Foundation at the time cited the Brodsky Center’s “significant contribution to the artistic vitality of our state” when awarding funds to support the center’s activities, including its public schools initiative. “We are particularly impressed by the extraordinary quality associated with every aspect of the Brodsky Center. The combination of remarkably talented, innovative artists and highly skilled, dedicated craftspeople coalesces to produce some of the most interesting art I have ever seen.”15 The Art on Loan Program was instituted by the Brodsky Center in 2008 to enrich the Rutgers environment as well as to encourage faculty and staff to collect art. Members of the university community were invited to come to the Center and choose prints for their sites. The Center then delivered and installed framed work in various departments. The departments and buildings on the New Brunswick campus with Brodsky Center artwork on their walls were the Alexander Library, the offices of the Department of Anthropology, the Bildner Center for Jewish Studies, the Center for European Studies, the School of Nursing, the Counseling and Psychological Services offices, the Douglass College dean’s office, the Douglass dean’s residence, the Institute for Women’s Leadership, the Department of Political Science, Rutgers University Press, the School of Arts and Sciences dean’s office, the Department of Women’s and Gender Studies, and the Plangere Writing Center at the Department of English, as well as a number of personal offices and classrooms. To fulfill the goal of making print and paper media more visible to the general public, Brodsky and subsequent directors organized national and international traveling exhibitions and conferences. In the early to mid 1990s, the Center joined with the Print Center (Philadelphia), Lower East Side Printshop (New York), and Pyramid Atlantic (Riverdale, Maryland), all not-for-profit print centers, to organize Crossing Over Changing Places, an international and national exhibition, curated by Jane Farmer and funded by the Pew Charitable Trusts and the United States Information Agency, which was exhibited throughout the United States and in over 20 venues in Europe, including former Soviet-dominated Eastern European countries. Staff from the four studios traveled to various cities on the tour, giving workshops and lectures in countries unfamiliar with contemporary American visual art. These international audiences were startled by the diversity and inclusivity of Black and brown artists, a contrast to the ethnic and racial homogeneity of their own countries. Beginning in 2002, the exhibition 100 New Jersey Artists Make Prints: Fifteen Years of the Rutgers Center for Innovative Print and Paper, traveled throughout the United States, then went to Cape Town, South Africa; Maputo, Mozambique; and Amman, Jordan (it was also scheduled to go the West Bank, the area contested by Israel and the Palestinians, but hostilities broke out).

26

27 III. Sculpsit: They Engraved It

The 100 prints in the exhibition formed a cross section of American art at the turn of the millennium. Indeed, the print by China Marks, created in 1989 with collaborating printers William Haberman and Lynne Allen, is even called Hope and Despair Greet the New Century. With most images concerned with identity and social issues, the exhibition made apparent that the United States was more racially and ethnically diverse than the universal stereotype of a white America. The Center’s international projects included several educational and economic development programs in Africa and South America. One was to assist in providing Black artists with access to print- and papermaking collaborations in Johannesburg, South Africa. Two others were to train South African and Ecuadoran villagers in papermaking techniques, thus providing them with economic sustainability. Johannesburg-based Artist Proof Studio (APS) was founded by Kim Berman and Nhlanhla Xaba in 1991, after apartheid was abolished, as a community printmaking center that reflected the spirit of the ideals expressed in the new South African constitution. Printmaking was seen as a democratic medium and a counterforce to the suspicion and division left from the apartheid years. The first interaction with APS was to provide residencies at Rutgers for two artists, who, after years of protest expressed through their art, used their residencies to develop approaches reflecting the new society. After a tragic fire at the APS in which Nhlanhla Xaba was killed, the RCIPP helped with rebuilding, including a new paper studio.16 A partnership between the two studios resulted in a project to teach papermaking to women in rural areas of South Africa. The archival paper the women produced was purchased by the South African government for use in printing currency, providing the women with their own income for the first time. The Center’s master printer Eileen M. Foti and master papermaker Gail Deery were the prime facilitators for the project. Additionally in another international project, the Brodsky Center master printers and papermakers with their colleagues at Artist Proof Studio (APS) and Crow’s Shadow Institute of the Arts (CSIA) brought together five San artists from the Kalahari Desert and five Native American artists from different tribal affiliations to coproduce a portfolio of prints based on their respective myths of the Creation. A similar project came through the United States Agency for International Development (USAID) which was designed to assist other countries in creating a sustainable economy. For generations, villages in an area of Ecuador had subsisted on growing sisal. The resulting fiber was used for rope, rugs, and even hats. However, plastic had taken its place, and the villagers had lost their income. The RCIPP took on the research to determine the viability of sisal for making paper, and once it was proved to be an appropriate fiber, papermaker Gail Deery selected the equipment and trained a group of Spanish-speaking graduate students to teach papermaking there. They spent several weeks setting up the equipment and teaching the residents of the villages how to make paper. The Center’s representatives brought along linoleum blocks, cutting tools, and printing ink and taught villagers how to make prints and hand-sewn books. The results were so successful that the villagers also gained income from selling their art to tourists in Quito.

The Brodsky Center hosted almost 400 visiting artists’ residencies in over three decades, and they, in turn, created 660 projects or editions with the master printers and papermakers. Because the Center was so progressive and democratic at its inception, the problem raised by the New York Times Museums section concerning issues of pluralism and representing diverse populations was not a factor for selecting works for this show. Throughout its 30-year mission, the Brodsky Center did not waiver in its support of artists who represented the richly diverse American population, as well as those found around the globe. Because the media of print- and papermaking are accomplished through collaboration, the Brodsky Center is recognized as a place where artists—both those in residence and those employed at the Center—work together to produce works of art. The master printer or papermaker develops the technology to realize the visiting artist’s work collaboratively. The master printers’ and papermakers’ expertise and artistic experience provide the foundation through which visiting artists, often new to working with print- and papermaking, find their artistic vocabularies and expressions. The synergy between visiting artists and the print- and papermakers, likewise, breeds cross-fertilization. Works by the Brodsky Center staff members, all of whom were artists in their own right, often reflect the impact of the conversations and the experiences of making objects with artists-in-residence. This symbiosis is acknowledged by crediting both on the wall labels and in the catalog. Susan Weil, an artist and the former wife of Robert Rauschenberg, characterized collaboration in printmaking as “resistance to precise attribution. You never know who contributed more.”17 The fact that printmaking studios are community affairs negates the patriarchal concept of art, held since the Renaissance, that valued works of art are created by male geniuses working alone. It is very evident from reviewing the entirety of the works on paper produced at the Brodsky Center that they do fulfill Brodsky’s definition of innovation as occurring in the world of ideas. Innovation in printmaking is often defined technologically, and experimentation in print and paper processes took place during the three decades of the Center’s years at Rutgers. Even more evident are the experiments with concepts that emerged in the 21st century as dominant concerns of artists in the contemporary art world: race and ethnic identity, gender nonconformity, climate and the environment, the politics of language, and immigration. It’s too easy to say that the concentration of these ideas in the print and handmade paper projects published by the Center reflects the feminist philosophy for which Brodsky is known. Rather, the Center encouraged artists to explore how working in what were for them the new processes of print and paper could expand their previous realms of thought. It’s interesting to consider that few artists in residence explored formal art issues for their own sake. Perhaps it’s the relationship of print and paper to books and text that led artists to use formal elements to deconstruct the patriarchy and white male supremacy, celebrate gender and cultural diversity, challenge art historical conventions of subject matter by creating art around domesticity and other overlooked subject matter, and even comment on the meaning of human existence through works about disease, age, and mortality. That is not to say the Center ignored technological innovation. There were no rules. Artists had access to anything that would help their expression. When Pepón Osorio wanted to create a work around teenage mothers and childcare issues in the Latinx community in New Brunswick, where the campus was located, the Brodsky Center

26

27 III. Sculpsit: They Engraved It

The 100 prints in the exhibition formed a cross section of American art at the turn of the millennium. Indeed, the print by China Marks, created in 1989 with collaborating printers William Haberman and Lynne Allen, is even called Hope and Despair Greet the New Century. With most images concerned with identity and social issues, the exhibition made apparent that the United States was more racially and ethnically diverse than the universal stereotype of a white America. The Center’s international projects included several educational and economic development programs in Africa and South America. One was to assist in providing Black artists with access to print- and papermaking collaborations in Johannesburg, South Africa. Two others were to train South African and Ecuadoran villagers in papermaking techniques, thus providing them with economic sustainability. Johannesburg-based Artist Proof Studio (APS) was founded by Kim Berman and Nhlanhla Xaba in 1991, after apartheid was abolished, as a community printmaking center that reflected the spirit of the ideals expressed in the new South African constitution. Printmaking was seen as a democratic medium and a counterforce to the suspicion and division left from the apartheid years. The first interaction with APS was to provide residencies at Rutgers for two artists, who, after years of protest expressed through their art, used their residencies to develop approaches reflecting the new society. After a tragic fire at the APS in which Nhlanhla Xaba was killed, the RCIPP helped with rebuilding, including a new paper studio.16 A partnership between the two studios resulted in a project to teach papermaking to women in rural areas of South Africa. The archival paper the women produced was purchased by the South African government for use in printing currency, providing the women with their own income for the first time. The Center’s master printer Eileen M. Foti and master papermaker Gail Deery were the prime facilitators for the project. Additionally in another international project, the Brodsky Center master printers and papermakers with their colleagues at Artist Proof Studio (APS) and Crow’s Shadow Institute of the Arts (CSIA) brought together five San artists from the Kalahari Desert and five Native American artists from different tribal affiliations to coproduce a portfolio of prints based on their respective myths of the Creation. A similar project came through the United States Agency for International Development (USAID) which was designed to assist other countries in creating a sustainable economy. For generations, villages in an area of Ecuador had subsisted on growing sisal. The resulting fiber was used for rope, rugs, and even hats. However, plastic had taken its place, and the villagers had lost their income. The RCIPP took on the research to determine the viability of sisal for making paper, and once it was proved to be an appropriate fiber, papermaker Gail Deery selected the equipment and trained a group of Spanish-speaking graduate students to teach papermaking there. They spent several weeks setting up the equipment and teaching the residents of the villages how to make paper. The Center’s representatives brought along linoleum blocks, cutting tools, and printing ink and taught villagers how to make prints and hand-sewn books. The results were so successful that the villagers also gained income from selling their art to tourists in Quito.

The Brodsky Center hosted almost 400 visiting artists’ residencies in over three decades, and they, in turn, created 660 projects or editions with the master printers and papermakers. Because the Center was so progressive and democratic at its inception, the problem raised by the New York Times Museums section concerning issues of pluralism and representing diverse populations was not a factor for selecting works for this show. Throughout its 30-year mission, the Brodsky Center did not waiver in its support of artists who represented the richly diverse American population, as well as those found around the globe. Because the media of print- and papermaking are accomplished through collaboration, the Brodsky Center is recognized as a place where artists—both those in residence and those employed at the Center—work together to produce works of art. The master printer or papermaker develops the technology to realize the visiting artist’s work collaboratively. The master printers’ and papermakers’ expertise and artistic experience provide the foundation through which visiting artists, often new to working with print- and papermaking, find their artistic vocabularies and expressions. The synergy between visiting artists and the print- and papermakers, likewise, breeds cross-fertilization. Works by the Brodsky Center staff members, all of whom were artists in their own right, often reflect the impact of the conversations and the experiences of making objects with artists-in-residence. This symbiosis is acknowledged by crediting both on the wall labels and in the catalog. Susan Weil, an artist and the former wife of Robert Rauschenberg, characterized collaboration in printmaking as “resistance to precise attribution. You never know who contributed more.”17 The fact that printmaking studios are community affairs negates the patriarchal concept of art, held since the Renaissance, that valued works of art are created by male geniuses working alone. It is very evident from reviewing the entirety of the works on paper produced at the Brodsky Center that they do fulfill Brodsky’s definition of innovation as occurring in the world of ideas. Innovation in printmaking is often defined technologically, and experimentation in print and paper processes took place during the three decades of the Center’s years at Rutgers. Even more evident are the experiments with concepts that emerged in the 21st century as dominant concerns of artists in the contemporary art world: race and ethnic identity, gender nonconformity, climate and the environment, the politics of language, and immigration. It’s too easy to say that the concentration of these ideas in the print and handmade paper projects published by the Center reflects the feminist philosophy for which Brodsky is known. Rather, the Center encouraged artists to explore how working in what were for them the new processes of print and paper could expand their previous realms of thought. It’s interesting to consider that few artists in residence explored formal art issues for their own sake. Perhaps it’s the relationship of print and paper to books and text that led artists to use formal elements to deconstruct the patriarchy and white male supremacy, celebrate gender and cultural diversity, challenge art historical conventions of subject matter by creating art around domesticity and other overlooked subject matter, and even comment on the meaning of human existence through works about disease, age, and mortality. That is not to say the Center ignored technological innovation. There were no rules. Artists had access to anything that would help their expression. When Pepón Osorio wanted to create a work around teenage mothers and childcare issues in the Latinx community in New Brunswick, where the campus was located, the Brodsky Center

29 staff, with the help of the Rutgers Center for Latino/a Arts and Culture, found a teenage mother who agreed to participate in an installation that involved the creation of a nursery and a video of the mother and baby sleeping to the sound of a lullaby sung in Spanish by the grandmother of the baby. The whole family, accompanied by what seemed like the entire Latinx community in New Brunswick, came to the opening reception. The Brodsky Center was also one of the first printmaking ateliers to experiment with largescale digital printing through corporate access to some of the first printers with that capacity. Despite the concerns in the art world about digital art, the Brodsky Center staff recognized the potential in digital printing as a tool that enlarged the technical printmaking repertoire. In creating his satires on white anthropological categorization of Black peoples as primitives, Willie Cole was one of the first artists to make a work of art digitally. He used the newly installed computers in the Brodsky Center to upload photographs of his own body and the patterned undersides of household irons, with which he created fake tribal costumes. The Center was also (and still is) the only center to have full handmade paper and print facilities, so that artists could create projects that involved both print and handmade paper. Papermaker Anne McKeown developed a process whereby silk screen text was printed with pigmented paper pulp onto newly pulled sheets of handmade paper for Kiki Smith, renowned for her sculptures and large twodimensional works, who became entranced with bookmaking as an art form.

Themes

28 The Brodsky Center at Rutgers University: Three Decades, 1967–2017 exhibition is thematically conceived, exemplifying the Center’s mission to insert new narratives into the American cultural mainstream.18 Five works capture the core that structures the exhibition and embodies the spirit of the Center. It is these works on paper, with the heading The Brodsky Center: Essence and Emblems, that greet visitors before they enter the galleries. Works on view in the galleries are organized into nine other thematic sections: Cultural Vitality and Social Justice, Documenting Place: Real and Imagined, Escaping the Unitary Linear, Icons and Symbols, Innovations, Looking at the Portrait, The Sages, Tribulations and Endings, and Visualizing Texts.

THE BRODSKY CENTER: ESSENCE AND EMBLEMS What is first apparent about the five works that introduce the themes of the exhibition is the overwhelming sense of social justice that is expressed throughout the work on display. The second takeaway is the sense of humanity that is present throughout. Most of the work in the exhibition is figurative—not because of any dogma, but because in expressing the human condition, these artists have come face-to-face with the physical body itself. Their approach to the human figure is a metaphor for humanity’s inner life: the dreams, the hopes, the anxieties, the fears, the ever-present threat of mortality, the bearers of wounds inflicted by the society they live in, and yet the belief that life is to be treasured. Each expresses the themes of social justice and humanity in his, her, their own way. The artists selected to introduce the Brodsky Center at the commencement of the show are Willie Birch, Willie Cole, Marina Gutierrez, and Jaune Quick-to-See Smith (Plates 1–4). Another work, created by 20 women artists, is a suite of prints known as the Femfolio portfolio (Plate 5). Willie Birch is based in New Orleans but has also lived in the New York area. His handmade paper doll male figure, Million Man March, 1995 (Plate 1) was made just after he had participated in the 1995 Million Man March in Washington, DC. The pants, shirt, and tie are covered with text referring to the many aspects of what it means to be a Black man in America.

Pat Steir and Anne Waldman in the Brodsky Center Studios, 2013

New Jersey–based Willie Cole is a noted contemporary American sculptor, printer, and conceptual visual artist. His work Silex Male, Ritual, 2004 (Plate 2) combines references to and appropriation from African and African American imagery. The artist is known for employing everyday household objects—hair dryers, shoes, and irons—in his work. In this digital print, he satirizes the categorization of what white anthropologists used to refer to as “primitive tribes” by creating fake tribal costumes using digital images of Silex irons. His choice of this appliance contains multiple layers of meaning. The shape of a handheld iron references the slave ships that brought indentured Africans to the New World while, simultaneously, represents the domestic association with ironing, a job Cole’s women family members did to make a living. In forming a tribal symbol from the iron, Cole also links his African heritage to the consumerism that appropriates African American culture. What is also innovative about this work is that it was printed at a scientific facility on Long Island that had offered its most technologically advanced digital printer, which had capabilities for printing giant-sized images, for use by the Brodsky Center. This was one of the first instances in which an oversized digital print was produced. Cole had made his first work on paper at the Brodsky Center as a New Jersey Print and Paper Fellow in 1999. The act of printing at the Center led to his use of the scorched images made by handheld irons with which he is associated. He continued to return to the Center to make a total of 14 works on paper.

29 staff, with the help of the Rutgers Center for Latino/a Arts and Culture, found a teenage mother who agreed to participate in an installation that involved the creation of a nursery and a video of the mother and baby sleeping to the sound of a lullaby sung in Spanish by the grandmother of the baby. The whole family, accompanied by what seemed like the entire Latinx community in New Brunswick, came to the opening reception. The Brodsky Center was also one of the first printmaking ateliers to experiment with largescale digital printing through corporate access to some of the first printers with that capacity. Despite the concerns in the art world about digital art, the Brodsky Center staff recognized the potential in digital printing as a tool that enlarged the technical printmaking repertoire. In creating his satires on white anthropological categorization of Black peoples as primitives, Willie Cole was one of the first artists to make a work of art digitally. He used the newly installed computers in the Brodsky Center to upload photographs of his own body and the patterned undersides of household irons, with which he created fake tribal costumes. The Center was also (and still is) the only center to have full handmade paper and print facilities, so that artists could create projects that involved both print and handmade paper. Papermaker Anne McKeown developed a process whereby silk screen text was printed with pigmented paper pulp onto newly pulled sheets of handmade paper for Kiki Smith, renowned for her sculptures and large twodimensional works, who became entranced with bookmaking as an art form.

Themes

28 The Brodsky Center at Rutgers University: Three Decades, 1967–2017 exhibition is thematically conceived, exemplifying the Center’s mission to insert new narratives into the American cultural mainstream.18 Five works capture the core that structures the exhibition and embodies the spirit of the Center. It is these works on paper, with the heading The Brodsky Center: Essence and Emblems, that greet visitors before they enter the galleries. Works on view in the galleries are organized into nine other thematic sections: Cultural Vitality and Social Justice, Documenting Place: Real and Imagined, Escaping the Unitary Linear, Icons and Symbols, Innovations, Looking at the Portrait, The Sages, Tribulations and Endings, and Visualizing Texts.

THE BRODSKY CENTER: ESSENCE AND EMBLEMS What is first apparent about the five works that introduce the themes of the exhibition is the overwhelming sense of social justice that is expressed throughout the work on display. The second takeaway is the sense of humanity that is present throughout. Most of the work in the exhibition is figurative—not because of any dogma, but because in expressing the human condition, these artists have come face-to-face with the physical body itself. Their approach to the human figure is a metaphor for humanity’s inner life: the dreams, the hopes, the anxieties, the fears, the ever-present threat of mortality, the bearers of wounds inflicted by the society they live in, and yet the belief that life is to be treasured. Each expresses the themes of social justice and humanity in his, her, their own way. The artists selected to introduce the Brodsky Center at the commencement of the show are Willie Birch, Willie Cole, Marina Gutierrez, and Jaune Quick-to-See Smith (Plates 1–4). Another work, created by 20 women artists, is a suite of prints known as the Femfolio portfolio (Plate 5). Willie Birch is based in New Orleans but has also lived in the New York area. His handmade paper doll male figure, Million Man March, 1995 (Plate 1) was made just after he had participated in the 1995 Million Man March in Washington, DC. The pants, shirt, and tie are covered with text referring to the many aspects of what it means to be a Black man in America.

Pat Steir and Anne Waldman in the Brodsky Center Studios, 2013

New Jersey–based Willie Cole is a noted contemporary American sculptor, printer, and conceptual visual artist. His work Silex Male, Ritual, 2004 (Plate 2) combines references to and appropriation from African and African American imagery. The artist is known for employing everyday household objects—hair dryers, shoes, and irons—in his work. In this digital print, he satirizes the categorization of what white anthropologists used to refer to as “primitive tribes” by creating fake tribal costumes using digital images of Silex irons. His choice of this appliance contains multiple layers of meaning. The shape of a handheld iron references the slave ships that brought indentured Africans to the New World while, simultaneously, represents the domestic association with ironing, a job Cole’s women family members did to make a living. In forming a tribal symbol from the iron, Cole also links his African heritage to the consumerism that appropriates African American culture. What is also innovative about this work is that it was printed at a scientific facility on Long Island that had offered its most technologically advanced digital printer, which had capabilities for printing giant-sized images, for use by the Brodsky Center. This was one of the first instances in which an oversized digital print was produced. Cole had made his first work on paper at the Brodsky Center as a New Jersey Print and Paper Fellow in 1999. The act of printing at the Center led to his use of the scorched images made by handheld irons with which he is associated. He continued to return to the Center to make a total of 14 works on paper.

30

31 Marina Gutierrez’s lithograph Reaching Mut, 1994 (Plate 3) represents the Egyptian goddess, the protector of women and artists. Gutierrez is a Black artist of Latin American heritage. Like many other Black artists and writers, Gutierrez, feeling closer to dark-skinned Egyptians of ancient times, looks to Egypt, rather than to Greece or Rome, for her classical heritage. Other iconographic elements include milagro charms, a reference to the Catholic Church, which is one of the institutions that have shaped Latin American culture. The charms, based on those blessed by priests to fulfill life’s wishes or to recover health, were printed separately on silver metallic paper, then cut out and sewn onto the figure. On either side of the goddess are images of civilization and nature. The artist, herself, can be seen between the legs of the goddess. The figure is printed on two sheets of paper to achieve the life-sized measurement. This edition was also the first Brodsky Center edition with handmade paper inclusions. Gutierrez’s residency was held immediately after the Center acquired papermaking equipment and initiated the papermaking studio. Jaune Quick-to-See Smith worked as a visiting artist at the Brodsky Center several times. This Native American, feminist, activist artist was born on the Flathead Reservation of the Confederated Salish and Kootenai Tribes in Montana. Smith is an internationally renowned painter and printmaker. In 2020, her painting on canvas I See Red: Target (1992) became the first painting by a Native American to enter the collection of the National Gallery of Art (Washington, DC). Her first name comes from the French word for yellow (jaune), signifying her French Cree ancestry. Her middle name, Quick-to-See, was given by her Shoshone grandmother as a sign of her ability to grasp things readily. Smith works in mixed media, collaging images and elements—Mickey Mouse, buffalo stamps, bottle labels, bingo cards—like those seen in her print What Is an American?, 2003 (Plate 4). It ironically contrasts the ritual costume of an adult Native American woman with the images on the background which are derived from the pop culture that dominates the United States and has both callously and negatively appropriated and stereotyped the indigenous peoples of North America. Proudly and poignantly, the headless, female figure, a stand-in for the artist, proclaims her belief in America despite her pain, holding feathers that are colored red, white, and blue. The entire suite of prints in Femfolio is installed on another wall at the entrance. Feminist artists commissioned to contribute to the project were Emma Amos, Eleanor Antin, Nancy Azara, Betsy Damon, Mary Beth Edelson, Lauren Ewing, Harmony Hammond, Joyce Kozloff, Diane Neumaier, Faith Ringgold, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Sylvia Sleigh, Joan Snyder, Nancy Spero, May Stevens, Athena Tacha, June Wayne, and Martha Wilson (Plate 5). In 2005, a group of visual arts professionals met to discuss how to commemorate the anniversaries of several 1970s and 1980s feminist art institutions and tie these significant organizations to the soon-to-be-opened Center for Feminist Art at the Brooklyn Museum. Among the participants in this conversation were Judith K. Brodsky, Judy Chicago, Ferris Olin, Arlene Raven, Maura Reilly, Susan Fisher Sterling, and Anne Swartz. Brodsky and Olin offered to coordinate their efforts under the rubric of a new enterprise they called The Feminist Art Project (TFAP). It would be administered by the newly established Rutgers Institute for Women and Art (IWA), which Brodsky and Olin also founded and co-directed. The inaugural TFAP event was an exhibition, curated by the pair, at the Mason Gross School of the Arts Galleries, How American Women Artists Invented Postmodernism: 1970–1975. Works created by feminist art pioneers in the 1970s were installed, and a gala took place in January 2006 at which the exhibiting artists, many of whom had not seen each other in years, gathered to be feted. In addition to organizing the exhibition and writing its catalog Brodsky and Olin brought together the Brodsky Center and the IWA in partnership to commission works on paper from twenty of the exhibiting artists. These were

produced at the Brodsky Center and collected into a black portfolio box with the title, Femfolio, in pink lettering. While looking from print-to-print, the viewer can see in their content many of the innovations brought to the visual arts by these pioneers, such as, autobiography, women’s domestic lives, photo documentation, pattern and decoration, and opposition to the patriarchy.

CULTURAL VITALITY AND SOCIAL JUSTICE Like the process of printmaking, each work in the group contains layers of ideas and meanings. The theme of survival despite oppression is represented by works made by Melvin Edwards, Gladys Barker Grauer, Leon Golub, Trenton Doyle Hancock, Hew Locke, Igor Makarevich, Philip Orenstein, Faith Ringgold, Gloria Rodríguez Calero, and Fred Wilson (Plates 6–15). Gladys Barker Grauer was an artist, curator, educator, and community activist who was nicknamed the “Mother” of Newark’s African American art community. She was a founding member of Black Woman in Visual Perspective. In 1971, she opened the first art gallery in Newark, and in 2015, at the age of 91, she taught art making to Newark’s other senior citizens. Her print, I Wish the Rent Was Heaven Sent, 1992 (Plate 7) is inspired by a line from a Langston Hughes poem. The print depicts Newark at a time when it was recovering from years of urban blight and neglect by including homeless people as lively, appealing human beings. By portraying them in colorful outfits with their cheerful demeanor, Grauer humanizes them, suggesting their individual personalities, rather than depicting them as the stereotype of monolithic victims. Trenton Doyle Hancock resides in Houston, Texas. His Brodsky Center project, Fix, 2008 (Plate 9), is a suite of 20 prints that continue the story of the “Mounds”—a group of mythical creatures who are the tragic protagonists of the artist’s ongoing narrative. Each new work is a contribution to the saga of the Mounds, portraying the birth, life, death, afterlife, and even dream states of these half-animal, halfplant creatures. Hancock escapes into a fantasy world in which an ongoing battle between the good Mounds (identified as full of color) and their evil opponents (devoid of color) is taking place. Influenced by the history of painting, especially Abstract Expressionism, as well as such artists as R. Crumb, Henry Darger, Max Ernst, and Philip Guston, Hancock transforms traditionally formal use of color, language, and pattern into opportunities to create new characters, develop subplots, and convey symbolic meanings. He often reworks biblical stories that he learned as a child from his family and local evangelical church community. In addition, Hancock playfully memorializes his three Brodsky Center collaborators by inserting portraits of them into the storyline. Balancing moral dilemmas with wit, Hancock’s works create a painterly space of psychological dimension and political identity through his knowledge of contemporary art and culture.19 Hew Locke’s The Prize, 2007 (Plate 10), is a satiric comment on the colonialist history of Great Britain. The shape of The Prize refers to a goblet in the British Museum from one of England’s former colonies. Locke ridicules the lost empire by constructing a substitute paper goblet from throw-away decorative items. He collects kitsch goodies from market stalls and dollar shops and adds them to his work. The piece comes with some of these treasures—plastic beads, flowers, and a star wand embedded in the elaborate collage which is constructed from 43 pieces of digital images and silk screen recollaged into a three-dimensional object. A major Moscow conceptualist, Igor Makarevich was one of the artists from former Soviet-bloc countries to be in residence at the Brodsky Center (along with his artist wife, Elena Elagina). Makarevich created Diary, 1998 (Plate 11), an unflattering self-

30

31 Marina Gutierrez’s lithograph Reaching Mut, 1994 (Plate 3) represents the Egyptian goddess, the protector of women and artists. Gutierrez is a Black artist of Latin American heritage. Like many other Black artists and writers, Gutierrez, feeling closer to dark-skinned Egyptians of ancient times, looks to Egypt, rather than to Greece or Rome, for her classical heritage. Other iconographic elements include milagro charms, a reference to the Catholic Church, which is one of the institutions that have shaped Latin American culture. The charms, based on those blessed by priests to fulfill life’s wishes or to recover health, were printed separately on silver metallic paper, then cut out and sewn onto the figure. On either side of the goddess are images of civilization and nature. The artist, herself, can be seen between the legs of the goddess. The figure is printed on two sheets of paper to achieve the life-sized measurement. This edition was also the first Brodsky Center edition with handmade paper inclusions. Gutierrez’s residency was held immediately after the Center acquired papermaking equipment and initiated the papermaking studio. Jaune Quick-to-See Smith worked as a visiting artist at the Brodsky Center several times. This Native American, feminist, activist artist was born on the Flathead Reservation of the Confederated Salish and Kootenai Tribes in Montana. Smith is an internationally renowned painter and printmaker. In 2020, her painting on canvas I See Red: Target (1992) became the first painting by a Native American to enter the collection of the National Gallery of Art (Washington, DC). Her first name comes from the French word for yellow (jaune), signifying her French Cree ancestry. Her middle name, Quick-to-See, was given by her Shoshone grandmother as a sign of her ability to grasp things readily. Smith works in mixed media, collaging images and elements—Mickey Mouse, buffalo stamps, bottle labels, bingo cards—like those seen in her print What Is an American?, 2003 (Plate 4). It ironically contrasts the ritual costume of an adult Native American woman with the images on the background which are derived from the pop culture that dominates the United States and has both callously and negatively appropriated and stereotyped the indigenous peoples of North America. Proudly and poignantly, the headless, female figure, a stand-in for the artist, proclaims her belief in America despite her pain, holding feathers that are colored red, white, and blue. The entire suite of prints in Femfolio is installed on another wall at the entrance. Feminist artists commissioned to contribute to the project were Emma Amos, Eleanor Antin, Nancy Azara, Betsy Damon, Mary Beth Edelson, Lauren Ewing, Harmony Hammond, Joyce Kozloff, Diane Neumaier, Faith Ringgold, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Sylvia Sleigh, Joan Snyder, Nancy Spero, May Stevens, Athena Tacha, June Wayne, and Martha Wilson (Plate 5). In 2005, a group of visual arts professionals met to discuss how to commemorate the anniversaries of several 1970s and 1980s feminist art institutions and tie these significant organizations to the soon-to-be-opened Center for Feminist Art at the Brooklyn Museum. Among the participants in this conversation were Judith K. Brodsky, Judy Chicago, Ferris Olin, Arlene Raven, Maura Reilly, Susan Fisher Sterling, and Anne Swartz. Brodsky and Olin offered to coordinate their efforts under the rubric of a new enterprise they called The Feminist Art Project (TFAP). It would be administered by the newly established Rutgers Institute for Women and Art (IWA), which Brodsky and Olin also founded and co-directed. The inaugural TFAP event was an exhibition, curated by the pair, at the Mason Gross School of the Arts Galleries, How American Women Artists Invented Postmodernism: 1970–1975. Works created by feminist art pioneers in the 1970s were installed, and a gala took place in January 2006 at which the exhibiting artists, many of whom had not seen each other in years, gathered to be feted. In addition to organizing the exhibition and writing its catalog Brodsky and Olin brought together the Brodsky Center and the IWA in partnership to commission works on paper from twenty of the exhibiting artists. These were

produced at the Brodsky Center and collected into a black portfolio box with the title, Femfolio, in pink lettering. While looking from print-to-print, the viewer can see in their content many of the innovations brought to the visual arts by these pioneers, such as, autobiography, women’s domestic lives, photo documentation, pattern and decoration, and opposition to the patriarchy.

CULTURAL VITALITY AND SOCIAL JUSTICE Like the process of printmaking, each work in the group contains layers of ideas and meanings. The theme of survival despite oppression is represented by works made by Melvin Edwards, Gladys Barker Grauer, Leon Golub, Trenton Doyle Hancock, Hew Locke, Igor Makarevich, Philip Orenstein, Faith Ringgold, Gloria Rodríguez Calero, and Fred Wilson (Plates 6–15). Gladys Barker Grauer was an artist, curator, educator, and community activist who was nicknamed the “Mother” of Newark’s African American art community. She was a founding member of Black Woman in Visual Perspective. In 1971, she opened the first art gallery in Newark, and in 2015, at the age of 91, she taught art making to Newark’s other senior citizens. Her print, I Wish the Rent Was Heaven Sent, 1992 (Plate 7) is inspired by a line from a Langston Hughes poem. The print depicts Newark at a time when it was recovering from years of urban blight and neglect by including homeless people as lively, appealing human beings. By portraying them in colorful outfits with their cheerful demeanor, Grauer humanizes them, suggesting their individual personalities, rather than depicting them as the stereotype of monolithic victims. Trenton Doyle Hancock resides in Houston, Texas. His Brodsky Center project, Fix, 2008 (Plate 9), is a suite of 20 prints that continue the story of the “Mounds”—a group of mythical creatures who are the tragic protagonists of the artist’s ongoing narrative. Each new work is a contribution to the saga of the Mounds, portraying the birth, life, death, afterlife, and even dream states of these half-animal, halfplant creatures. Hancock escapes into a fantasy world in which an ongoing battle between the good Mounds (identified as full of color) and their evil opponents (devoid of color) is taking place. Influenced by the history of painting, especially Abstract Expressionism, as well as such artists as R. Crumb, Henry Darger, Max Ernst, and Philip Guston, Hancock transforms traditionally formal use of color, language, and pattern into opportunities to create new characters, develop subplots, and convey symbolic meanings. He often reworks biblical stories that he learned as a child from his family and local evangelical church community. In addition, Hancock playfully memorializes his three Brodsky Center collaborators by inserting portraits of them into the storyline. Balancing moral dilemmas with wit, Hancock’s works create a painterly space of psychological dimension and political identity through his knowledge of contemporary art and culture.19 Hew Locke’s The Prize, 2007 (Plate 10), is a satiric comment on the colonialist history of Great Britain. The shape of The Prize refers to a goblet in the British Museum from one of England’s former colonies. Locke ridicules the lost empire by constructing a substitute paper goblet from throw-away decorative items. He collects kitsch goodies from market stalls and dollar shops and adds them to his work. The piece comes with some of these treasures—plastic beads, flowers, and a star wand embedded in the elaborate collage which is constructed from 43 pieces of digital images and silk screen recollaged into a three-dimensional object. A major Moscow conceptualist, Igor Makarevich was one of the artists from former Soviet-bloc countries to be in residence at the Brodsky Center (along with his artist wife, Elena Elagina). Makarevich created Diary, 1998 (Plate 11), an unflattering self-

32

33 portrait depicting his out-of-shape body (with large breasts, folds of fat, and a large stomach). He wears a Pinocchio-like nose strapped around his head and is dressed in a dunce cap on his lowered head, as well as torn long underwear. Pinocchio with his elongated nose (caused by his lying) or the Soviet version, Buratino, often appears in his work to critique Soviet culture and its collectivism. Makarevich sits surrounded by objects and detritus. His image reminds one of the carte de visite. This work is a depiction of powerlessness, deprivation, and waiting. The text surrounding his self-portrait simulates a diary yet is in fact meaningless scribble in sepia, as if written on dirty, aged paper. Faith Ringgold’s Sunflower Quilting Bee at Arles, 1996 (Plate 13) was published by the Brodsky Center to support the College Art Association, an organization on whose board Ringgold, like Brodsky also served. The image is from one of her French Collection series of story quilts chronicling the life of a fictional young African American woman, Willa Marie Simone, who goes to Paris in the 1920s to pursue her lifelong ambition of becoming an artist. While there, she marries an affluent Frenchman, models for Matisse and Picasso, and encounters an international cadre of influential personages. This print shows Willa Marie on the left, accompanied by a pantheon of strong, historically significant African American women; from upper left they are Madam C. J. Walker, Sojourner Truth, Ida Wells, Fannie Lou Hamer, Harriet Tubman, Rosa Parks, Mary McLeod Bethune, and Ella Baker. They are holding the quilt they have been making. Standing alone in the background is Vincent van Gogh holding a bouquet of flowers and passively watching them. The contrast between the collective appearance of the group of women, as opposed to the isolated male artist, is a statement about the solitary traditional male activity of making art as opposed to the group of women needed for a bee. Ringgold’s second work in the exhibition, included in Femfolio (Plate 5), is one of her series on the Great Migration. Melvin Edwards’ Curtain of Friends, 2015 (Plate 6), a rendering of a stage curtain made from barbed wire, is a memorial to dead colleagues while simultaneously referencing slavery and oppression. The late Leon Golub, known for his large canvases depicting the horrors of violence, was, like Edwards, a member of the Department of Art and Design at the Mason Gross School of the Arts. His lithograph, White Squad, 1987 (Plate 8) depicts the abuse by the whites in South Africa against the Blacks during the apartheid years. Philip Orenstein, also a faculty member in the Department of Art and Design, memorializes his experience as a Jewish child hidden from the Nazis in occupied France during World War II with a three-panel lithograph. The Big Cheese, 1991 and 1999–2001 (Plate 12) depicts the represents the ship the Ile de France on which he and his family, finally freed from oppression, came to the United States, the land of opportunity and Walt Disney, leaving the horrors of Europe behind. (Ile de France is also the brand of cheese that uses the ship as it logo). In Ex Voto, 2000 (Plate 14) Gloria Rodríguez Calero comments on the complexity of spirituality in a violent world, and in the two etchings based on the floor plans of the High Museum of Art and the Carnegie Museum of Art which make up the diptych, Untitled, 2009 (Plate 15) Fred Wilson makes fun of the paradoxical commercialism of contemporary museums, highlighting their shops and restrooms, rather than their galleries.  

DOCUMENTING PLACE: REAL AND IMAGINED Artists in this group have created portrayals of landscapes, maps, and blueprints of places—both real and imagined—showing how these depictions reveal the culture and society that have shaped them. The artists whose work is on view here are Alexandre Arrechea, Zeina Barakeh, Diane Burko, Dahlia Elsayed, Melissa Gould, James Lavadour, Deborah Luster, Sarah McEneaney, Amalia Mesa-Bains, Dot Paolo, and Duke Riley (Plates 16–25).

Alexandre Arrechea is a Cuban-born artist, now living in Miami. Mississippi Bucket, 2009 (Plate 16) is a print rendering of a sculptural installation that he built from wood retrieved from the Mississippi River after the devastation to New Orleans caused by Hurricane Katrina. Arrechea used the grain of the wood as a reference to the damage. Architecture features frequently in Arrechea’s work. He uses it to comment on social issues. In Mississippi Bucket, an architectural structure (in the shape of the Mississippi Gulf) meant to protect New Orleans from the ravages of water during its frequent hurricanes is shown to be useless, particularly in the areas where Blacks live. The bucket wasn’t enough, yet the community, like the wood, survived. Lebanese Palestinian artist Zeina Barakeh resides in San Francisco. In Trojan Accords, 2014-2015 (Plate 17), Barakeh, a multimedia artist, forges together two frames from her animations, Scenarios of Breaking Down a Wall and Homeland Insecurity into a single unified image which captures the narrative conflict of an historic encounter between Palestinian civilians and the military mounted police during the period of the British Mandate, 1918–1948, which only served to exacerbate the tensions and hostilities that are even greater today in the area. In this postcolonial hybrid image, Barakeh adds architectural elements related to the Mosque-Cathedral of Córdoba and the Córdoba Synagogue, Spain, pointing to the complexity of the histories and contested territories in the Middle East. Melissa Gould spent 1986–1987 in Berlin, where she became interested in using the Holocaust as a theme in her work and in creating memorial responses to the six million Jews who were murdered by the Nazis after learning that her grandfather had perished at Auschwitz, one of the major death camps. At the Brodsky Center, Gould created Neu-York, 2000 (Plate 19). She took a map of New York and substituted all the street names with the names of Berlin streets found on a 1939 map of that city which was the capital of Nazi Germany. Gould and the Brodsky Center printers worked tediously with a computer to remove the former names and then replace them with the 1939 Berlin ones. Her message warns against genocide. James Lavadour, from the Walla Walla tribe of the Confederated Tribes of the Umatilla Indian Reservation in Oregon, was so enamored of printmaking after making his first print ever, at the Brodsky Center, that he founded the Crow’s Shadow Institute of the Arts (CSIA), a printmaking center on the Umatilla Indian Reservation. Crow’s Shadow has become a renowned cultural center in Oregon and on the West Coast. Lavadour is known as a landscape painter, and his Untitled, 1990 (Plate 18) represents an imagined landscape, inhabited by Native American spirits, and expresses the longing by Native Americans to reunite with the land taken from them centuries ago. Many Native Americans identify with the land, especially as ownership of property and sovereignty have been issues contested for centuries between the Tribal Nations and the United States government. Lavadour found the medium challenging: “Learning to make a lithograph was an excruciating process but it was also invigorating and enlightening . . . It gave me the tools to analyze, so I became more productive.”20 Amalia Mesa-Bains, recipient of a MacArthur Fellowship (“genius grant”) in 1993, is a Mexican American artist, cultural critic, curator, professor emerita, psychologist, and scholar based in California. Like Lavadour’s work, Amalia Mesa-Bains’ print, Private Landscape/Public Territories, 1997 (Plate 24), is about the loss of land by the Indigenous peoples of North America. The print represents the invisibility of the original inhabitants of Western lands. At the bottom half of the work, one can view depictions of the exploited lands, which she has drawn stereographically, while the upper area shows its beauty. Mesa-Bains participated in the Latina artists initiative mounted by the Brodsky Center with the Rutgers Center for Latino/a Arts and Culture, to bring numerous Latina artists to campus to make print projects at the Center.

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33 portrait depicting his out-of-shape body (with large breasts, folds of fat, and a large stomach). He wears a Pinocchio-like nose strapped around his head and is dressed in a dunce cap on his lowered head, as well as torn long underwear. Pinocchio with his elongated nose (caused by his lying) or the Soviet version, Buratino, often appears in his work to critique Soviet culture and its collectivism. Makarevich sits surrounded by objects and detritus. His image reminds one of the carte de visite. This work is a depiction of powerlessness, deprivation, and waiting. The text surrounding his self-portrait simulates a diary yet is in fact meaningless scribble in sepia, as if written on dirty, aged paper. Faith Ringgold’s Sunflower Quilting Bee at Arles, 1996 (Plate 13) was published by the Brodsky Center to support the College Art Association, an organization on whose board Ringgold, like Brodsky also served. The image is from one of her French Collection series of story quilts chronicling the life of a fictional young African American woman, Willa Marie Simone, who goes to Paris in the 1920s to pursue her lifelong ambition of becoming an artist. While there, she marries an affluent Frenchman, models for Matisse and Picasso, and encounters an international cadre of influential personages. This print shows Willa Marie on the left, accompanied by a pantheon of strong, historically significant African American women; from upper left they are Madam C. J. Walker, Sojourner Truth, Ida Wells, Fannie Lou Hamer, Harriet Tubman, Rosa Parks, Mary McLeod Bethune, and Ella Baker. They are holding the quilt they have been making. Standing alone in the background is Vincent van Gogh holding a bouquet of flowers and passively watching them. The contrast between the collective appearance of the group of women, as opposed to the isolated male artist, is a statement about the solitary traditional male activity of making art as opposed to the group of women needed for a bee. Ringgold’s second work in the exhibition, included in Femfolio (Plate 5), is one of her series on the Great Migration. Melvin Edwards’ Curtain of Friends, 2015 (Plate 6), a rendering of a stage curtain made from barbed wire, is a memorial to dead colleagues while simultaneously referencing slavery and oppression. The late Leon Golub, known for his large canvases depicting the horrors of violence, was, like Edwards, a member of the Department of Art and Design at the Mason Gross School of the Arts. His lithograph, White Squad, 1987 (Plate 8) depicts the abuse by the whites in South Africa against the Blacks during the apartheid years. Philip Orenstein, also a faculty member in the Department of Art and Design, memorializes his experience as a Jewish child hidden from the Nazis in occupied France during World War II with a three-panel lithograph. The Big Cheese, 1991 and 1999–2001 (Plate 12) depicts the represents the ship the Ile de France on which he and his family, finally freed from oppression, came to the United States, the land of opportunity and Walt Disney, leaving the horrors of Europe behind. (Ile de France is also the brand of cheese that uses the ship as it logo). In Ex Voto, 2000 (Plate 14) Gloria Rodríguez Calero comments on the complexity of spirituality in a violent world, and in the two etchings based on the floor plans of the High Museum of Art and the Carnegie Museum of Art which make up the diptych, Untitled, 2009 (Plate 15) Fred Wilson makes fun of the paradoxical commercialism of contemporary museums, highlighting their shops and restrooms, rather than their galleries.  

DOCUMENTING PLACE: REAL AND IMAGINED Artists in this group have created portrayals of landscapes, maps, and blueprints of places—both real and imagined—showing how these depictions reveal the culture and society that have shaped them. The artists whose work is on view here are Alexandre Arrechea, Zeina Barakeh, Diane Burko, Dahlia Elsayed, Melissa Gould, James Lavadour, Deborah Luster, Sarah McEneaney, Amalia Mesa-Bains, Dot Paolo, and Duke Riley (Plates 16–25).

Alexandre Arrechea is a Cuban-born artist, now living in Miami. Mississippi Bucket, 2009 (Plate 16) is a print rendering of a sculptural installation that he built from wood retrieved from the Mississippi River after the devastation to New Orleans caused by Hurricane Katrina. Arrechea used the grain of the wood as a reference to the damage. Architecture features frequently in Arrechea’s work. He uses it to comment on social issues. In Mississippi Bucket, an architectural structure (in the shape of the Mississippi Gulf) meant to protect New Orleans from the ravages of water during its frequent hurricanes is shown to be useless, particularly in the areas where Blacks live. The bucket wasn’t enough, yet the community, like the wood, survived. Lebanese Palestinian artist Zeina Barakeh resides in San Francisco. In Trojan Accords, 2014-2015 (Plate 17), Barakeh, a multimedia artist, forges together two frames from her animations, Scenarios of Breaking Down a Wall and Homeland Insecurity into a single unified image which captures the narrative conflict of an historic encounter between Palestinian civilians and the military mounted police during the period of the British Mandate, 1918–1948, which only served to exacerbate the tensions and hostilities that are even greater today in the area. In this postcolonial hybrid image, Barakeh adds architectural elements related to the Mosque-Cathedral of Córdoba and the Córdoba Synagogue, Spain, pointing to the complexity of the histories and contested territories in the Middle East. Melissa Gould spent 1986–1987 in Berlin, where she became interested in using the Holocaust as a theme in her work and in creating memorial responses to the six million Jews who were murdered by the Nazis after learning that her grandfather had perished at Auschwitz, one of the major death camps. At the Brodsky Center, Gould created Neu-York, 2000 (Plate 19). She took a map of New York and substituted all the street names with the names of Berlin streets found on a 1939 map of that city which was the capital of Nazi Germany. Gould and the Brodsky Center printers worked tediously with a computer to remove the former names and then replace them with the 1939 Berlin ones. Her message warns against genocide. James Lavadour, from the Walla Walla tribe of the Confederated Tribes of the Umatilla Indian Reservation in Oregon, was so enamored of printmaking after making his first print ever, at the Brodsky Center, that he founded the Crow’s Shadow Institute of the Arts (CSIA), a printmaking center on the Umatilla Indian Reservation. Crow’s Shadow has become a renowned cultural center in Oregon and on the West Coast. Lavadour is known as a landscape painter, and his Untitled, 1990 (Plate 18) represents an imagined landscape, inhabited by Native American spirits, and expresses the longing by Native Americans to reunite with the land taken from them centuries ago. Many Native Americans identify with the land, especially as ownership of property and sovereignty have been issues contested for centuries between the Tribal Nations and the United States government. Lavadour found the medium challenging: “Learning to make a lithograph was an excruciating process but it was also invigorating and enlightening . . . It gave me the tools to analyze, so I became more productive.”20 Amalia Mesa-Bains, recipient of a MacArthur Fellowship (“genius grant”) in 1993, is a Mexican American artist, cultural critic, curator, professor emerita, psychologist, and scholar based in California. Like Lavadour’s work, Amalia Mesa-Bains’ print, Private Landscape/Public Territories, 1997 (Plate 24), is about the loss of land by the Indigenous peoples of North America. The print represents the invisibility of the original inhabitants of Western lands. At the bottom half of the work, one can view depictions of the exploited lands, which she has drawn stereographically, while the upper area shows its beauty. Mesa-Bains participated in the Latina artists initiative mounted by the Brodsky Center with the Rutgers Center for Latino/a Arts and Culture, to bring numerous Latina artists to campus to make print projects at the Center.

34

35 Duke Riley’s Brodsky Center project, Morituri Te Salutant (Those Who Are About to Die Salute You), 2009 (Plate 25), derives from his August 2009 performance, a mock naval battle of the same name, held outside the Queens Museum reflecting pool at Flushing Meadows, the site of the 1939 New York World’s Fair. The pool was flooded, and the boats were filled with staff from New York museums dressed in gladiator costumes. Both the boats and the costumes were made by Riley from the phragmites reeds that have invaded the wetlands of New Jersey’s and New York’s coastlines. Hundreds of toga-clad spectators watched combatants using baguettes as their swords and tomatoes as their ammunition participate in a chaotic battle set to loud rock music. Riley’s idea was to re-create the mock naval battles—naumachiae—staged by Julius Caesar in Rome more than 2,000 years ago. The artist brought remnants of the phragmites reeds to the Brodsky Center, from which he created the handmade paper for the print. Philadelphia-based artist Diane Burko has always portrayed landscapes, most recently creating dramatic images commenting on climate change. She comes closer to home in providing a lyrical, nostalgic river view near Philadelphia in her woodcut Delaware River 1987, 1987 (Plate 21). Another Philadelphia-based artist, Sarah McEneaney documents her own life through her artwork, and in this print, renders her studio, Paint Print, 2002 (Plate 23) showing her working environment inhabited by her cats and dog (her dog now memorialized in a paper sculpture made in 2022 at the Brodsky Center at the Pennsylvania Academy of the Fine Arts) as well as herself. Reconsideration of the idea of home is seen in Tenth Moon, 2005 (Plate 20), a work by Dahlia Elsayed in which she uses maps to make a statement about immigration. In her photogravure Tooth for an Eye, Ledger 05-15/Location..., 2008-2010 (Plate 26 ) of the site of a murder, Luster also shows that images of place can evoke traces of violence as well as pleasure. Dot Paolo imaginatively creates a backyard scene with Barbie and Ken dolls and furniture in Claes Pin Chair, 1999 (Plate 22). The print is a wry homage to the artist Claes Oldenburg, who like Paolo, rendered works based on everyday objects but as monumental sculptures, whereas in Paolo’s print, the world has become miniature.

ESCAPING THE UNITARY LINEAR These artists explore the physical shape of the object as a central theme in their work, whether paperwork, print, or a combination of the two. They focus on specific geometric forms—fans, kites, or even the shape of a human figure as expressions of content. The eight artists whose works are illustrative of this theme are Corwin Clairmont, Roberta Harley, Don Kennell, Byron Kim, Kevin O’Neill and Karisa Senavitis, Miriam Schapiro, and Melanie Yazzie (Plates 27–35). Roberta Harley designed Her Best Dress, 1997 (Plate 28) during her New Jersey Print and Paper Fellowship residency. She became an artist after a career as a dancer that culminated in her performances as a Rockette. Because she is a former chorus girl, costumes held great meaning for her. Creating a work in the shape of a dress suited her nostalgic concept and conveyed much more than a conventional rectangular image would have done. This dress is decorated with collaged images of the artist at various stages of her life and in a variety of dresses, many also strapless. It was formed by a stencil, rather than by a standard rectangular mold and deckle. Its skirt seems to be whirling around and is tied with an organdy bow. Miriam Schapiro also rejected the conventional rectangle format in both her paintings and her prints by using shapes that referred to women’s cultural lives, houses and hearts. Her fan-shaped artwork, In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 1993 (Plate 35) honors Mary Lou Williams who was a jazz pianist, composer,

and arranger of popular songs. In choosing to focus on a woman jazz musician, she consulted with the world-renowned Rutgers Institute of Jazz Studies to research women and jazz. The artist associated the fan shape with the feminine and conceived of it as decorative and Japanese-like (though men in Japan carry fans too). The work is an example of the Pattern and Decoration art movement, of which Schapiro was a founder. Femfolio (Plate 5) contains a second work by Schapiro in this exhibition. With her handmade paper series, Metamorphosis, 2000 (Plates 33 and 34) Melanie Yazzie, Diné (Navajo Nation), memorialized a moment in her own life when she had moved from Arizona to Colorado just before her Brodsky Center residency. She pulled handmade translucent paper to form the sheets in moth-like shapes with butterfly-like wings and then pulp-painted and printed on the bodies individually, often with road maps of Canada and New England, these symbolizing travelers moving between the two countries, originally territories that belonged to First Nation peoples. The works on paper are each unique, with Yazzie’s images on them referring to her Diné and female identity including symbols of gambling stereotypically associated with many Native American nations. In addition, The artwork is a commentary on her homesickness. Alone and sad in her new Colorado studio, Yazzie saw a moth like those she knew in Arizona fly in the window, making her feel at home. In her artist statement, she said, “My work speaks about travel and transformation.”21 Corwin Clairmont created Split Shield, 2001 (Plate 27) in protest over the United States federal government’s plan to build an interstate highway through the middle of the Flathead Reservation. Using actual remnants of truck tires, he constructed a shield shape that is split down the middle, a metaphor for the proposed highway and what it would do to the reservation. A conventional rectangular work of art would not have conveyed his content so effectively. Don Kennell’s monumental hand holding fortune-telling cards Bird in Hand, 1998 (Plate 29) is unexpected and has a dramatic impact on viewers, reminding them of the uncertainty of life in a way that conventional flat prints cannot, as does Byron Kim’s Sky Blue Kite, 2001 (Plate 30) (he actually flew every kite in the edition and photographed them in flight). Kim experimented with the color, seeking a pigment that would match the blue of the sky on a clear day so that the kites would appear to merge into the sky, becoming invisible to their handlers. Artist and master papermaker Anne Q. McKeown is represented with the smallest-sized work in the exhibition, Hummingbird Conversation, 2011 (Plate 31). Her fanciful paper sculpture captures the energy of these minute avians. Kevin O’Neill and Karisa Senavitis’s Ramones Commemorative Plates, 2008 (Plate 32) pay homage to the punk rock group, the Ramones. The artists memorialize the way in which the Ramones reference every day life in their music by recycling Ramones album covers to create paper pulp which has been formed into imitation throw-away paper plates.

ICONS AND SYMBOLS This theme groups artists who focus on symbols derived from many sources such as popular culture, ancient indigenous civilizations, and contemporary politics that are employed to express dynamic and innovative meanings. Their content may take on new levels of interpretation driven by the artist’s intention to convey a message to the viewer. The artists in the exhibition who have explored this theme include Pacita Abad, George Longfish, Michiko Rupnow, Juan Sánchez, and Ela Shah (Plates 36–40).

34

35 Duke Riley’s Brodsky Center project, Morituri Te Salutant (Those Who Are About to Die Salute You), 2009 (Plate 25), derives from his August 2009 performance, a mock naval battle of the same name, held outside the Queens Museum reflecting pool at Flushing Meadows, the site of the 1939 New York World’s Fair. The pool was flooded, and the boats were filled with staff from New York museums dressed in gladiator costumes. Both the boats and the costumes were made by Riley from the phragmites reeds that have invaded the wetlands of New Jersey’s and New York’s coastlines. Hundreds of toga-clad spectators watched combatants using baguettes as their swords and tomatoes as their ammunition participate in a chaotic battle set to loud rock music. Riley’s idea was to re-create the mock naval battles—naumachiae—staged by Julius Caesar in Rome more than 2,000 years ago. The artist brought remnants of the phragmites reeds to the Brodsky Center, from which he created the handmade paper for the print. Philadelphia-based artist Diane Burko has always portrayed landscapes, most recently creating dramatic images commenting on climate change. She comes closer to home in providing a lyrical, nostalgic river view near Philadelphia in her woodcut Delaware River 1987, 1987 (Plate 21). Another Philadelphia-based artist, Sarah McEneaney documents her own life through her artwork, and in this print, renders her studio, Paint Print, 2002 (Plate 23) showing her working environment inhabited by her cats and dog (her dog now memorialized in a paper sculpture made in 2022 at the Brodsky Center at the Pennsylvania Academy of the Fine Arts) as well as herself. Reconsideration of the idea of home is seen in Tenth Moon, 2005 (Plate 20), a work by Dahlia Elsayed in which she uses maps to make a statement about immigration. In her photogravure Tooth for an Eye, Ledger 05-15/Location..., 2008-2010 (Plate 26 ) of the site of a murder, Luster also shows that images of place can evoke traces of violence as well as pleasure. Dot Paolo imaginatively creates a backyard scene with Barbie and Ken dolls and furniture in Claes Pin Chair, 1999 (Plate 22). The print is a wry homage to the artist Claes Oldenburg, who like Paolo, rendered works based on everyday objects but as monumental sculptures, whereas in Paolo’s print, the world has become miniature.

ESCAPING THE UNITARY LINEAR These artists explore the physical shape of the object as a central theme in their work, whether paperwork, print, or a combination of the two. They focus on specific geometric forms—fans, kites, or even the shape of a human figure as expressions of content. The eight artists whose works are illustrative of this theme are Corwin Clairmont, Roberta Harley, Don Kennell, Byron Kim, Kevin O’Neill and Karisa Senavitis, Miriam Schapiro, and Melanie Yazzie (Plates 27–35). Roberta Harley designed Her Best Dress, 1997 (Plate 28) during her New Jersey Print and Paper Fellowship residency. She became an artist after a career as a dancer that culminated in her performances as a Rockette. Because she is a former chorus girl, costumes held great meaning for her. Creating a work in the shape of a dress suited her nostalgic concept and conveyed much more than a conventional rectangular image would have done. This dress is decorated with collaged images of the artist at various stages of her life and in a variety of dresses, many also strapless. It was formed by a stencil, rather than by a standard rectangular mold and deckle. Its skirt seems to be whirling around and is tied with an organdy bow. Miriam Schapiro also rejected the conventional rectangle format in both her paintings and her prints by using shapes that referred to women’s cultural lives, houses and hearts. Her fan-shaped artwork, In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 1993 (Plate 35) honors Mary Lou Williams who was a jazz pianist, composer,

and arranger of popular songs. In choosing to focus on a woman jazz musician, she consulted with the world-renowned Rutgers Institute of Jazz Studies to research women and jazz. The artist associated the fan shape with the feminine and conceived of it as decorative and Japanese-like (though men in Japan carry fans too). The work is an example of the Pattern and Decoration art movement, of which Schapiro was a founder. Femfolio (Plate 5) contains a second work by Schapiro in this exhibition. With her handmade paper series, Metamorphosis, 2000 (Plates 33 and 34) Melanie Yazzie, Diné (Navajo Nation), memorialized a moment in her own life when she had moved from Arizona to Colorado just before her Brodsky Center residency. She pulled handmade translucent paper to form the sheets in moth-like shapes with butterfly-like wings and then pulp-painted and printed on the bodies individually, often with road maps of Canada and New England, these symbolizing travelers moving between the two countries, originally territories that belonged to First Nation peoples. The works on paper are each unique, with Yazzie’s images on them referring to her Diné and female identity including symbols of gambling stereotypically associated with many Native American nations. In addition, The artwork is a commentary on her homesickness. Alone and sad in her new Colorado studio, Yazzie saw a moth like those she knew in Arizona fly in the window, making her feel at home. In her artist statement, she said, “My work speaks about travel and transformation.”21 Corwin Clairmont created Split Shield, 2001 (Plate 27) in protest over the United States federal government’s plan to build an interstate highway through the middle of the Flathead Reservation. Using actual remnants of truck tires, he constructed a shield shape that is split down the middle, a metaphor for the proposed highway and what it would do to the reservation. A conventional rectangular work of art would not have conveyed his content so effectively. Don Kennell’s monumental hand holding fortune-telling cards Bird in Hand, 1998 (Plate 29) is unexpected and has a dramatic impact on viewers, reminding them of the uncertainty of life in a way that conventional flat prints cannot, as does Byron Kim’s Sky Blue Kite, 2001 (Plate 30) (he actually flew every kite in the edition and photographed them in flight). Kim experimented with the color, seeking a pigment that would match the blue of the sky on a clear day so that the kites would appear to merge into the sky, becoming invisible to their handlers. Artist and master papermaker Anne Q. McKeown is represented with the smallest-sized work in the exhibition, Hummingbird Conversation, 2011 (Plate 31). Her fanciful paper sculpture captures the energy of these minute avians. Kevin O’Neill and Karisa Senavitis’s Ramones Commemorative Plates, 2008 (Plate 32) pay homage to the punk rock group, the Ramones. The artists memorialize the way in which the Ramones reference every day life in their music by recycling Ramones album covers to create paper pulp which has been formed into imitation throw-away paper plates.

ICONS AND SYMBOLS This theme groups artists who focus on symbols derived from many sources such as popular culture, ancient indigenous civilizations, and contemporary politics that are employed to express dynamic and innovative meanings. Their content may take on new levels of interpretation driven by the artist’s intention to convey a message to the viewer. The artists in the exhibition who have explored this theme include Pacita Abad, George Longfish, Michiko Rupnow, Juan Sánchez, and Ela Shah (Plates 36–40).

36

37 Filipino American artist Pacita Abad was interested in global, non-white cultures as evident in African Mephisto, 1991 (Plate 38), her powerful African supernatural figure with its white mask and highly decorative garments. Abad combines both African masks and Indonesian motifs to present a multicultural figure surrounded by various colors and patterns, referring to textiles and performance art. The distinguished artist and educator George Longfish uses humor to convey his thoughts on Indigenous stereotypes and assimilation in his triptych, Modern Times, 1994 (Plate 39). He is a member of the Seneca Nation, which the American public mostly thinks of as an applesauce brand—and in the middle panel of his extraordinary autobiographical work of art, he has drawn a jar of Seneca applesauce as an emblem of assimilation. The triptych captures Longfish’s false and true identities.  In War Monument I (1–4), 1999 (Plate 36), Michiko Rupnow has made a body of work inspired by her discovery that the war history she was taught while growing up in Japan left much about the nation’s history untold, particularly the country’s war atrocities. The artist communicates her anger about how the government of her native country has erased its oppressive acts during the 20th century by picturing the monuments erected in Manchuria by the Japanese to celebrate their victory but adding text that tells their true history of oppression. Juan Sánchez is revered by the Puerto Rican artists’ community as a leader in focusing on Puerto Rican culture and United States oppression. His lithograph with handmade paper Once We Were Warriors, 1999 (Plate 37) heroizes young Puerto Rican nationalists with surrounding symbols from the Puerto Rican heritage of the Taino culture. The Nuyorican artist-professor explores racial and ethnic identities in his paintings, photographs, and mixed-media works. He made his first print at the RCIP in 1988. More than a decade later, he created Once We Were Warriors. He was in the generation of activist artists of Puerto Rican heritage rediscovering their cultural roots and developing new imagery for islander protests and community work. He incorporated a political symbol for the island, the upside-down palm tree, as well as references to its Indigenous peoples, the Taíno, and their petroglyphs. The unusual shape of the print is made with torn paper. The inserted photograph is a reference to then-contemporary Puerto Rican history, depicting leaders of the Young Lords Party—Iris Morales, Juan González, and Pablo “Yoruba” Guzmán. The Young Lords Party was a Puerto Rican nationalist and political activist group in New York and elsewhere that was catalyzed by the civil rights movement. Lastly, Ela Shah, working in both paper and print, imagines a temple, combining various iconic images in the fantasy tower she depicts in Cradle of Faith, 1995 (Plate 40) a pulp paper painting with chine collé. She has many sources for her imagery. Although an American, she has a strong sense of her Indian heritage. She is aware of the religious, cultural, and political issues in India and the United States and expresses this awareness in her work, but her sculptures with their multiple references show that she is conscious of the sometimes comical aspects of multiculturism as well.

INNOVATIONS The print and paper projects in this category are representative of the innovative techniques devised by the master printer and master papermaker to carry out visiting artists’ ideas when more traditional processes were inadequate. That vision guided the artists in exploring new artistic expression. Inventive artistry is exemplified

by works on paper produced by Lynne Allen, El Anatsui, Lynda Benglis, Chakaia Booker, Jacqueline Clipsham, William Kentridge, Pepón Osorio, and Joan Snyder (Plates 41–48). As a member of the Standing Rock Sioux Tribe of North and South Dakota, Lynne Allen works with her Native American heritage. An artist, administrator, and professor, Lynne Allen was a master printer and then director of the Brodsky Center. While working at the Brodsky Center, Allen realized her heritage, through her matrilinear family, was a subject matter she wanted to explore in her artwork. Black Moccasins, 2006 (Plate 43) a shoe-shaped paper sculpture constructed according to Native American tradition, decorated with Indigenous symbols, but the inner shoe is covered in text. The writing comes from her great-grandmother’s diaries. As a child, her great-grandmother was taken away from the reservation to attend an Indian boarding school, where she was forced to assimilate into Anglo-American culture by wearing the clothing and speaking the English language in order to make her “civilized.” Many Native American children were traumatized by their experiences at such boarding schools, and some never returned to their families. Allen’s artist statement eloquently expresses the history of her people: I can trace my Native heritage back six generations to Wastewin (Good Women) in the early 1800’s. As a visual artist I incorporate the passions that drive me personally into a bigger reality—the world is full of threats and rewritten histories. Here, I question history as it has been written by the victors. I seek the voices of those who were left out, with the goal of creating a space where the viewer has a chance to imagine a world other than their own.22 Jacqueline Clipsham had a double career as an activist on behalf of disabled artists and as a well-known clay artist, and in her spare time, she was an avid jazz fan. In her residency at the Brodsky Center, she fashioned a hand-bound artist’s book of drawings, poetry, and essays, with a compact disc, entitled Intervals and Rhythms of the Landscape, 2000 (Plate 45) inspired by hours of attending the concerts of her many jazz musician friends and listening to their recordings. The book’s back cover contains a pocket with transcripts of the handwritten poems which fill the book and a second pocket for a disk of the music that inspired them. South African artist William Kentridge is world renowned for his prints, drawings, animated films, and performances. His consciousness about social injustice was raised while he was growing up in Johannesburg during apartheid with lawyer parents defending victims of racism. His innovative project at the Brodsky Center, Stereoscopic Suite, 2007-2008 (Plate 47) is a portfolio of six stereoscopic photogravures exhibited with individual stereoscopes. The six double gravures have their own titles which suggest a wide range of historical, psychological, and philosophical references: A Cat in the Meat Trade, Étant Donné, Larder, Melancholia, Memento Mori, and Still Life. A stereoscope is a device for viewing a pair of separate images, depicting left-eye and right-eye views of the same scene, as a single threedimensional image. Kentridge worked in his studio, building and photographing the three-dimensional representations. These photographs were altered into paired images and then, at the Brodsky Center, were made into photogravures. As one looks through the stereoscope, one sees the two images dissolve into one. The artist wants his viewers to think about the sense of sight. Kentridge has had a long-term interest in vision in the same way that 16th-century artists experimented with the visual. Often Kentridge’s iconography becomes apparent as he experiments with images and investigates the workings of the sense of sight.

36

37 Filipino American artist Pacita Abad was interested in global, non-white cultures as evident in African Mephisto, 1991 (Plate 38), her powerful African supernatural figure with its white mask and highly decorative garments. Abad combines both African masks and Indonesian motifs to present a multicultural figure surrounded by various colors and patterns, referring to textiles and performance art. The distinguished artist and educator George Longfish uses humor to convey his thoughts on Indigenous stereotypes and assimilation in his triptych, Modern Times, 1994 (Plate 39). He is a member of the Seneca Nation, which the American public mostly thinks of as an applesauce brand—and in the middle panel of his extraordinary autobiographical work of art, he has drawn a jar of Seneca applesauce as an emblem of assimilation. The triptych captures Longfish’s false and true identities.  In War Monument I (1–4), 1999 (Plate 36), Michiko Rupnow has made a body of work inspired by her discovery that the war history she was taught while growing up in Japan left much about the nation’s history untold, particularly the country’s war atrocities. The artist communicates her anger about how the government of her native country has erased its oppressive acts during the 20th century by picturing the monuments erected in Manchuria by the Japanese to celebrate their victory but adding text that tells their true history of oppression. Juan Sánchez is revered by the Puerto Rican artists’ community as a leader in focusing on Puerto Rican culture and United States oppression. His lithograph with handmade paper Once We Were Warriors, 1999 (Plate 37) heroizes young Puerto Rican nationalists with surrounding symbols from the Puerto Rican heritage of the Taino culture. The Nuyorican artist-professor explores racial and ethnic identities in his paintings, photographs, and mixed-media works. He made his first print at the RCIP in 1988. More than a decade later, he created Once We Were Warriors. He was in the generation of activist artists of Puerto Rican heritage rediscovering their cultural roots and developing new imagery for islander protests and community work. He incorporated a political symbol for the island, the upside-down palm tree, as well as references to its Indigenous peoples, the Taíno, and their petroglyphs. The unusual shape of the print is made with torn paper. The inserted photograph is a reference to then-contemporary Puerto Rican history, depicting leaders of the Young Lords Party—Iris Morales, Juan González, and Pablo “Yoruba” Guzmán. The Young Lords Party was a Puerto Rican nationalist and political activist group in New York and elsewhere that was catalyzed by the civil rights movement. Lastly, Ela Shah, working in both paper and print, imagines a temple, combining various iconic images in the fantasy tower she depicts in Cradle of Faith, 1995 (Plate 40) a pulp paper painting with chine collé. She has many sources for her imagery. Although an American, she has a strong sense of her Indian heritage. She is aware of the religious, cultural, and political issues in India and the United States and expresses this awareness in her work, but her sculptures with their multiple references show that she is conscious of the sometimes comical aspects of multiculturism as well.

INNOVATIONS The print and paper projects in this category are representative of the innovative techniques devised by the master printer and master papermaker to carry out visiting artists’ ideas when more traditional processes were inadequate. That vision guided the artists in exploring new artistic expression. Inventive artistry is exemplified

by works on paper produced by Lynne Allen, El Anatsui, Lynda Benglis, Chakaia Booker, Jacqueline Clipsham, William Kentridge, Pepón Osorio, and Joan Snyder (Plates 41–48). As a member of the Standing Rock Sioux Tribe of North and South Dakota, Lynne Allen works with her Native American heritage. An artist, administrator, and professor, Lynne Allen was a master printer and then director of the Brodsky Center. While working at the Brodsky Center, Allen realized her heritage, through her matrilinear family, was a subject matter she wanted to explore in her artwork. Black Moccasins, 2006 (Plate 43) a shoe-shaped paper sculpture constructed according to Native American tradition, decorated with Indigenous symbols, but the inner shoe is covered in text. The writing comes from her great-grandmother’s diaries. As a child, her great-grandmother was taken away from the reservation to attend an Indian boarding school, where she was forced to assimilate into Anglo-American culture by wearing the clothing and speaking the English language in order to make her “civilized.” Many Native American children were traumatized by their experiences at such boarding schools, and some never returned to their families. Allen’s artist statement eloquently expresses the history of her people: I can trace my Native heritage back six generations to Wastewin (Good Women) in the early 1800’s. As a visual artist I incorporate the passions that drive me personally into a bigger reality—the world is full of threats and rewritten histories. Here, I question history as it has been written by the victors. I seek the voices of those who were left out, with the goal of creating a space where the viewer has a chance to imagine a world other than their own.22 Jacqueline Clipsham had a double career as an activist on behalf of disabled artists and as a well-known clay artist, and in her spare time, she was an avid jazz fan. In her residency at the Brodsky Center, she fashioned a hand-bound artist’s book of drawings, poetry, and essays, with a compact disc, entitled Intervals and Rhythms of the Landscape, 2000 (Plate 45) inspired by hours of attending the concerts of her many jazz musician friends and listening to their recordings. The book’s back cover contains a pocket with transcripts of the handwritten poems which fill the book and a second pocket for a disk of the music that inspired them. South African artist William Kentridge is world renowned for his prints, drawings, animated films, and performances. His consciousness about social injustice was raised while he was growing up in Johannesburg during apartheid with lawyer parents defending victims of racism. His innovative project at the Brodsky Center, Stereoscopic Suite, 2007-2008 (Plate 47) is a portfolio of six stereoscopic photogravures exhibited with individual stereoscopes. The six double gravures have their own titles which suggest a wide range of historical, psychological, and philosophical references: A Cat in the Meat Trade, Étant Donné, Larder, Melancholia, Memento Mori, and Still Life. A stereoscope is a device for viewing a pair of separate images, depicting left-eye and right-eye views of the same scene, as a single threedimensional image. Kentridge worked in his studio, building and photographing the three-dimensional representations. These photographs were altered into paired images and then, at the Brodsky Center, were made into photogravures. As one looks through the stereoscope, one sees the two images dissolve into one. The artist wants his viewers to think about the sense of sight. Kentridge has had a long-term interest in vision in the same way that 16th-century artists experimented with the visual. Often Kentridge’s iconography becomes apparent as he experiments with images and investigates the workings of the sense of sight.

38

39 Joan Snyder, a pioneering feminist artist working with abstraction has made numerous print and paper projects at the Brodsky Center. In 2010 she created an edition of 16 unique pulp paper paintings, the first pulp paintings she had ever made. In addition to the handmade paper she pulled, Snyder also inserted fabric, flowers, twigs, and other material into each of the unique works. Through working with paper pulp, Snyder found a way of giving works on paper the same tactility as her paintings. Snyder’s works included in the exhibition are entitled Angry Women (Plate 5) from the Femfolio suite of prints and and white field/pink & orange, 2010 (Plate 48). Artists Lynda Benglis, a longtime innovator in using non-art materials such as liquid latex, and Chakaia Booker, also known for her sculptures made from used automobile and truck tires, both experimented with handmade paper as a sculptural material, and examples of their Brodsky Center works can be seen in this section. Benglis created a series of paper sculptures titled the Bull Path series, represented in this exhibition by Napeague Pond, 2013 (Plate 44). In addition to transforming normally flat paper into three-dimensional shapes, she also applied color, including some fluorescent pigments to various sections. Chakaia Booker created Impending Encounter, 2008 (Plate 42) by twisting paper pigmented with black into a tangle of shards that seem to writhe on the wall. El Anatsui, known for his metal tapestries made with bottle caps and metal wires, tried his hand at handmade paper at the Center. Using the watermark technique, he created the series Learned Papers, represented here by Untitled 1, 2012 (Plate 41) with shimmering, translucent shapes that successfully reference worn, barely visible ancient hieroglyphs. Pepón Osorio had an idea for an installation around the life of a Latinx teenage mother. The result was Canción de cuna para una madre (Lullaby for Mother), 1997 (Plate 46). The Brodsky Center staff produced a a screen-printed rug and a video instead of a print edition. The resulting film consists of the mother and her baby sleeping together while the sound element in the installation projects the voice of the baby’s grandmother singing a lullaby in Spanish.

LOOKING AT THE PORTRAIT This thematic concept centers around an unconventional interpretation of the portrait. Artists at the Brodsky Center explored parts of the body, old photographic head shots, imaginary images, personal history, iconic figures, and other disruptions to reinterpret the traditional approach. The artists in this section include María Magdalena Campos-Pons, Gail Deery, David Driskell, Eduardo Fausti, Barkley L. Hendricks, Deborah Kass, Yong Soon Min, Irina Nakhova, Lázaro Saavedra González, Kiki Smith, and Mickalene Thomas (Plates 49–59). In her lithograph and pulp painting Untitled (The Right Protection), 2000 (Plate 53) multimedia artist María Magdalena Campos-Pons shows her nude back covered with eyes, suggesting surveillance of her body and watchfulness by her body as these eyes look out at the viewer. She is Cuban-born and now resides in Nashville, Tennessee, where she is holds a named professorship at Vanderbilt University. Her family’s history is intertwined with the history of slavery, and her family’s heritage is a composite of its mixed geographical background (Nigerian, Hispanic, and Chinese). These ancestors worked as slave labor in Cuba’s sugar industry. In her artworks, Campos-Pons reflects this history of the people of the African diaspora, along with issues of memory, race, gender, sexuality, multiculturalism, and in the Brodsky Center work, also surveillance. The print may be a comment on Cuba’s repressed society (Campos-Pons is one of the people who left Cuba by boat) but while her performances, photographs, installations, sculptures, and videos take on personal issues, they are also universal.

David Driskell’s four-color lithograph The Young Herbalist, 2000 (Plate 50) is an homage to Driskell’s preacher father as can be seen in the image of a church above the artist’s head, but it also reflects Driskell’s own life. Driskell helped to establish the study of African American art as a discipline. He was the first art historian to write a comprehensive history of African American art. In addition, he had a rich personal life. He was particularly known for his gardening as reflected in the foliage that surrounds him in the print. He spent summers in the state of Maine, completely immersed in cultivating the plants which he loved so much. The Brodsky Center published this work in collaboration with Aljira, a Center for Contemporary Art, for Driskell’s exhibit at the Paul Robeson Galleries, Rutgers-Newark, Echoes: The Art of David C. Driskell. Barkley L. Hendricks uses a Byzantine gold background against which he places the jazz saxophonist Dexter Gordon, transforming him into a saintly icon. His Iconic Dexter, 2009 (Plate 54) was produced at the Center at the same time as a smaller version that was published for Philagrafika 2010, a print festival held in Philadelphia. The multisite exhibitions under the umbrella title The Graphic Unconscious celebrated the printed image as a core strategy for artists. Many of the area’s print workshops, including the Brodsky Center, partnered with artists to make new prints. Judith K. Brodsky headed this initiative. Hendricks was known as a portraitist of everyday Black people, as well as those who were more well-known like the jazz tenor saxophonist Dexter Gordon. After studying European museum collections during his undergraduate years at the Pennsylvania Academy of the Fine Arts and later at Yale, Hendricks noticed that there was a dearth of portraits of people from the African diaspora. By the 1960s and 1970s, he decided to paint life-sized images of people like him living in urban areas such as Philadelphia, to redress their invisibility. This idea, which was revolutionary at the time, compelled him throughout his five-decade career. Hendricks was known for a style of portraiture that harkened back to the tradition of European portraits. His large-scale portrait of Dexter Gordon is representative of this style. Deborah Kass, an artist committed to feminism, riffs on Warhol’s Mao series with a triptych of Gertrude Stein, titled Chairman Ma, 1994 (Plate 52), mocking both Warhol and the patriarchy. The artist works at the intersection of art history, pop culture, feminism, and identity. This triple portrait was part of a larger 1999 project called The Warhol Project, which was a traveling exhibition and also published in book form. She spent a decade critiquing Andy Warhol’s stereotypes of beauty, questioning the existence of an immutable cultural or self-identity, and expanding the notion of celebrity to include the lesbian, the Jewish, and the feminist subject. Yong Soon Min’s self-portrait depicts photographs of her Korean family’s immigrant history emanating from her head, as if she can barely contain it. Her art practice interrogates issues of representation and cultural identities as well as the intersection of history and memory. Talking Herstory, 1990 (Plate 56) is infused with personal meaning. The snapshots of her relatives are attached to branches that symbolize her family tree. Her family was forced to leave her birth country when North and South Korea separated. In the background are historic images of the 1945 Yalta Conference at which the decision was made to separate the two areas of Korea. The title might also be a play on words, because when she immigrated to the United States from Seoul, Yong Soon Min was seven years old and neither spoke English nor knew anything about American culture.

38

39 Joan Snyder, a pioneering feminist artist working with abstraction has made numerous print and paper projects at the Brodsky Center. In 2010 she created an edition of 16 unique pulp paper paintings, the first pulp paintings she had ever made. In addition to the handmade paper she pulled, Snyder also inserted fabric, flowers, twigs, and other material into each of the unique works. Through working with paper pulp, Snyder found a way of giving works on paper the same tactility as her paintings. Snyder’s works included in the exhibition are entitled Angry Women (Plate 5) from the Femfolio suite of prints and and white field/pink & orange, 2010 (Plate 48). Artists Lynda Benglis, a longtime innovator in using non-art materials such as liquid latex, and Chakaia Booker, also known for her sculptures made from used automobile and truck tires, both experimented with handmade paper as a sculptural material, and examples of their Brodsky Center works can be seen in this section. Benglis created a series of paper sculptures titled the Bull Path series, represented in this exhibition by Napeague Pond, 2013 (Plate 44). In addition to transforming normally flat paper into three-dimensional shapes, she also applied color, including some fluorescent pigments to various sections. Chakaia Booker created Impending Encounter, 2008 (Plate 42) by twisting paper pigmented with black into a tangle of shards that seem to writhe on the wall. El Anatsui, known for his metal tapestries made with bottle caps and metal wires, tried his hand at handmade paper at the Center. Using the watermark technique, he created the series Learned Papers, represented here by Untitled 1, 2012 (Plate 41) with shimmering, translucent shapes that successfully reference worn, barely visible ancient hieroglyphs. Pepón Osorio had an idea for an installation around the life of a Latinx teenage mother. The result was Canción de cuna para una madre (Lullaby for Mother), 1997 (Plate 46). The Brodsky Center staff produced a a screen-printed rug and a video instead of a print edition. The resulting film consists of the mother and her baby sleeping together while the sound element in the installation projects the voice of the baby’s grandmother singing a lullaby in Spanish.

LOOKING AT THE PORTRAIT This thematic concept centers around an unconventional interpretation of the portrait. Artists at the Brodsky Center explored parts of the body, old photographic head shots, imaginary images, personal history, iconic figures, and other disruptions to reinterpret the traditional approach. The artists in this section include María Magdalena Campos-Pons, Gail Deery, David Driskell, Eduardo Fausti, Barkley L. Hendricks, Deborah Kass, Yong Soon Min, Irina Nakhova, Lázaro Saavedra González, Kiki Smith, and Mickalene Thomas (Plates 49–59). In her lithograph and pulp painting Untitled (The Right Protection), 2000 (Plate 53) multimedia artist María Magdalena Campos-Pons shows her nude back covered with eyes, suggesting surveillance of her body and watchfulness by her body as these eyes look out at the viewer. She is Cuban-born and now resides in Nashville, Tennessee, where she is holds a named professorship at Vanderbilt University. Her family’s history is intertwined with the history of slavery, and her family’s heritage is a composite of its mixed geographical background (Nigerian, Hispanic, and Chinese). These ancestors worked as slave labor in Cuba’s sugar industry. In her artworks, Campos-Pons reflects this history of the people of the African diaspora, along with issues of memory, race, gender, sexuality, multiculturalism, and in the Brodsky Center work, also surveillance. The print may be a comment on Cuba’s repressed society (Campos-Pons is one of the people who left Cuba by boat) but while her performances, photographs, installations, sculptures, and videos take on personal issues, they are also universal.

David Driskell’s four-color lithograph The Young Herbalist, 2000 (Plate 50) is an homage to Driskell’s preacher father as can be seen in the image of a church above the artist’s head, but it also reflects Driskell’s own life. Driskell helped to establish the study of African American art as a discipline. He was the first art historian to write a comprehensive history of African American art. In addition, he had a rich personal life. He was particularly known for his gardening as reflected in the foliage that surrounds him in the print. He spent summers in the state of Maine, completely immersed in cultivating the plants which he loved so much. The Brodsky Center published this work in collaboration with Aljira, a Center for Contemporary Art, for Driskell’s exhibit at the Paul Robeson Galleries, Rutgers-Newark, Echoes: The Art of David C. Driskell. Barkley L. Hendricks uses a Byzantine gold background against which he places the jazz saxophonist Dexter Gordon, transforming him into a saintly icon. His Iconic Dexter, 2009 (Plate 54) was produced at the Center at the same time as a smaller version that was published for Philagrafika 2010, a print festival held in Philadelphia. The multisite exhibitions under the umbrella title The Graphic Unconscious celebrated the printed image as a core strategy for artists. Many of the area’s print workshops, including the Brodsky Center, partnered with artists to make new prints. Judith K. Brodsky headed this initiative. Hendricks was known as a portraitist of everyday Black people, as well as those who were more well-known like the jazz tenor saxophonist Dexter Gordon. After studying European museum collections during his undergraduate years at the Pennsylvania Academy of the Fine Arts and later at Yale, Hendricks noticed that there was a dearth of portraits of people from the African diaspora. By the 1960s and 1970s, he decided to paint life-sized images of people like him living in urban areas such as Philadelphia, to redress their invisibility. This idea, which was revolutionary at the time, compelled him throughout his five-decade career. Hendricks was known for a style of portraiture that harkened back to the tradition of European portraits. His large-scale portrait of Dexter Gordon is representative of this style. Deborah Kass, an artist committed to feminism, riffs on Warhol’s Mao series with a triptych of Gertrude Stein, titled Chairman Ma, 1994 (Plate 52), mocking both Warhol and the patriarchy. The artist works at the intersection of art history, pop culture, feminism, and identity. This triple portrait was part of a larger 1999 project called The Warhol Project, which was a traveling exhibition and also published in book form. She spent a decade critiquing Andy Warhol’s stereotypes of beauty, questioning the existence of an immutable cultural or self-identity, and expanding the notion of celebrity to include the lesbian, the Jewish, and the feminist subject. Yong Soon Min’s self-portrait depicts photographs of her Korean family’s immigrant history emanating from her head, as if she can barely contain it. Her art practice interrogates issues of representation and cultural identities as well as the intersection of history and memory. Talking Herstory, 1990 (Plate 56) is infused with personal meaning. The snapshots of her relatives are attached to branches that symbolize her family tree. Her family was forced to leave her birth country when North and South Korea separated. In the background are historic images of the 1945 Yalta Conference at which the decision was made to separate the two areas of Korea. The title might also be a play on words, because when she immigrated to the United States from Seoul, Yong Soon Min was seven years old and neither spoke English nor knew anything about American culture.

40

41 In her diptych, Fata Morgana amd Blood Cameo, 2010 (Plate 49), Gail Deery uses the device of the miniature portrait to create a memorial to her mother and connect her own generation to the past. Eduardo Fausti draws an imaginary portrait of an American poet who was also a practicing physician with his relief print, Homage to William Carlos Williams, 1997 (Plate 51). Irina Nakhova’s Untitled, 1994 (Plate 55) focuses on the complex biology of the brain, creating an intense image that communicates the anxiety of living in the oppressive former Soviet society. Cuban artist Lázaro Saavedra González also reveals the impact of communism in his imaginary portrait, Karl Marx, 2000 (Plate 58), one eye of which opens to show its biological interior, intimating that rather than a god, he is a mortal, fallible human being. Kiki Smith conveys her awareness of aging through self-portraits that depict her as Fall; Winter, 2000 (Plate 57). African American artist Mickalene Thomas poses Marie, her African American model in Portrait of Marie Sitting in Black and White, 2012 (Plate 59) against patterned textiles (Japanese decorative papers), as a response to the classic white nude archetype depicted by Anglo-European male artists.

THE SAGES Despite their advanced ages, these artists, ranging in age from the late 60s to over 100, have continued to think, create, and actively engage with the world when many people consider themselves retired or beyond their more youthful capabilities. This perspective is shared by the younger population, for whom anyone over 30 can be dismissed as “over-the-hill,” yet in the 21st century, life spans increase. Indeed, calling these artists sagacious is no exaggeration. Works by Will Barnet, Bette Blank, Frank Bowling, Elizabeth Catlett, Nell Painter, May Stevens, Richard Tuttle and John Yau, and June Wayne are on view in this section (Plates 60–67) Will Barnet was in residence at the Brodsky Center not just once, but numerous times in his last years, creating several print editions. Perhaps most moving, is his portrait in this exhibition of Bob Blackburn, the legendary print artist. Renowned as an educator, painter, and printmaker Barnet created Bob, 2005 (Plate 61) when Barnet was 94 years old. He lived to be a centenarian and made another print at the Brodsky Center when he was 101. Barnet was known for his great expertise in lithography, woodcut, and intaglio, and as a master teacher. As early as 1934, he became the official printer for The Art Students League of New York, where he printed for the Mexican muralist José Clemente Orozco, among other artists. Barnet’s close-up portrait is of his friend and colleague Robert Blackburn. Blackburn, who grew up in Harlem, was another prolific and highly regarded “printmaker’s printmaker,” working as collaborating printer for many luminaries in the art world and mentoring many other emerging artists at his printmaking workshop in the Chelsea area of New York City. Blackburn, like Barnet, was the recipient of countless awards during his lifetime. Blackburn and Barnet became friends in the 1930s, when they met as artists hired to teach in the Federal Art Project (FAP) under the Works Progress Administration (WPA), (Roosevelt’s New Deal plan to counteract the impact of the Great Depression). The Brodsky Center mounted an exhibition of the two colleagues, and Barnet made this print in honor of his deceased friend. Frank Bowling took the opportunity during his residency to move away from the largescale perspective of his paintings to the more intimate one offered by printmaking to make an image honoring his deceased mother Mother Approaching Sixty, 2003 (Plate 62). Born in Guyana, Frank Bowling has been working as an artist since he studied painting at London’s Royal College of Art, where his classmates included David Hockney and R. B. Kitaj. His paintings can be figurative as well as abstract, reflecting the influence of the color-field and abstract expressionist artists he met while living in New York in the mid-1960s. This strong matriarchal figure is a familiar one in

Afro-Caribbean societies. Bowling’s mother exerted an influence on him and photographs of the artist when he reached her age illustrate the strong family resemblance. The print was produced as a fundraiser for Aljira, a Center for Contemporary Art, which mounted a retrospective of the artist’s work in 2003. At the time that Elizabeth Catlett was in residence at the Brodsky Center in 2005, she was 90 years old and was still ready to experiment. She ventured for the first time into combining digital printing with traditional printmaking techniques. She made two prints at the Center, Danys y Liethis (Mother and Child), 2005 and Gossip, 2005 (Plate 63), the latter for The Print Club of New York. This second work on paper depicts two women deeply engaged in conversation—an everyday occurrence across the globe. While at work at the Center, Catlett sat on a stool, hand coloring the print, looking very much like one of the women in her drawing. Gossip was created by the artist through drawing on Mylar in ink and lithographic crayon. The image was then transferred to the plate photographically. The decision was made to create the background digitally. The artist brought various swatches of material with her to Rutgers. These were scanned into the computer, and Catlett built the background she wanted, producing a virtual collage. It was Catlett’s first opportunity to work with the computer, and she found it exciting. Pioneering feminist artist and social activist for peace and equality May Stevens was approaching her 70th year in 1993, when she worked on a lithograph with metallic powders at the Brodsky Center. The content of much of Stevens’s work is social commentary combined with her own personal artistic style. For instance, in the 1970s, she was known for her Big Daddy series (1967–1976), anti–Vietnam War paintings of an American flag enveloping a big-headed figure—a commentary on the military-industrial complex. Her Brodsky Center lithograph, The Remains of the Day, 1993 (Plate 65), like some of her later paintings, shows boats on a sea of words, a metaphor for floating in one’s own dreams and thoughts, possibly bringing to mind the phrase “people at sea.” Water meant much to her, as she grew up on the coast of Massachusetts. The text, written in gold and silver, refers to the way in which people with Alzheimer’s disease—in this case, Stevens’ mother—float on the surface of words, not understanding their meaning. Ironically, Stevens herself eventually died from complications of Alzheimer’s. Another work by Stevens, in the show is The Band Played On (Plate 5) from the Femfolio. Post-minimalist artist Richard Tuttle and John Yau, a cultural critic and poet, both very visible and active in their careers despite their ages, worked collaboratively to produce an innovative artist’s book at the Brodsky Center, The Missing Portrait, 2008 (Plate 66). This spectacular handmade artist’s book is illustrated by Tuttle and also contains a poem by Yau. The book has an arresting cover of a three-dimensional, sculptural lizard, adding to its enigmatic title. Viewers are enticed by the artist’s use of chance scraps of ordinary everyday materials, as well as materials that convey a sense of fragility. A meandering line makes its way throughout the book, seemingly passing the surface and edges of it. The reader is in a constant state of surprise. June Wayne was an American printmaker, tapestry designer, painter, educator, public intellectual, and entrepreneur. She is recognized as having reinvigorated the medium of lithography during the latter half of the 20th century, when she founded the Tamarind Lithography Workshop in Los Angeles to train master printers. June Wayne was 80 years old when she created Whoopers, 1998 (Plate 67). This color lithograph honors the 200th anniversary of the invention of that medium by Alois Senefelder, whose first name can be seen on the lithography stone over which the whooping crane hovers. Wayne uses the rescue of the population of whooping cranes as a metaphor for how she herself rescued printmaking in the United States by producing a population of master printers. The crane in the lithograph can be

40

41 In her diptych, Fata Morgana amd Blood Cameo, 2010 (Plate 49), Gail Deery uses the device of the miniature portrait to create a memorial to her mother and connect her own generation to the past. Eduardo Fausti draws an imaginary portrait of an American poet who was also a practicing physician with his relief print, Homage to William Carlos Williams, 1997 (Plate 51). Irina Nakhova’s Untitled, 1994 (Plate 55) focuses on the complex biology of the brain, creating an intense image that communicates the anxiety of living in the oppressive former Soviet society. Cuban artist Lázaro Saavedra González also reveals the impact of communism in his imaginary portrait, Karl Marx, 2000 (Plate 58), one eye of which opens to show its biological interior, intimating that rather than a god, he is a mortal, fallible human being. Kiki Smith conveys her awareness of aging through self-portraits that depict her as Fall; Winter, 2000 (Plate 57). African American artist Mickalene Thomas poses Marie, her African American model in Portrait of Marie Sitting in Black and White, 2012 (Plate 59) against patterned textiles (Japanese decorative papers), as a response to the classic white nude archetype depicted by Anglo-European male artists.

THE SAGES Despite their advanced ages, these artists, ranging in age from the late 60s to over 100, have continued to think, create, and actively engage with the world when many people consider themselves retired or beyond their more youthful capabilities. This perspective is shared by the younger population, for whom anyone over 30 can be dismissed as “over-the-hill,” yet in the 21st century, life spans increase. Indeed, calling these artists sagacious is no exaggeration. Works by Will Barnet, Bette Blank, Frank Bowling, Elizabeth Catlett, Nell Painter, May Stevens, Richard Tuttle and John Yau, and June Wayne are on view in this section (Plates 60–67) Will Barnet was in residence at the Brodsky Center not just once, but numerous times in his last years, creating several print editions. Perhaps most moving, is his portrait in this exhibition of Bob Blackburn, the legendary print artist. Renowned as an educator, painter, and printmaker Barnet created Bob, 2005 (Plate 61) when Barnet was 94 years old. He lived to be a centenarian and made another print at the Brodsky Center when he was 101. Barnet was known for his great expertise in lithography, woodcut, and intaglio, and as a master teacher. As early as 1934, he became the official printer for The Art Students League of New York, where he printed for the Mexican muralist José Clemente Orozco, among other artists. Barnet’s close-up portrait is of his friend and colleague Robert Blackburn. Blackburn, who grew up in Harlem, was another prolific and highly regarded “printmaker’s printmaker,” working as collaborating printer for many luminaries in the art world and mentoring many other emerging artists at his printmaking workshop in the Chelsea area of New York City. Blackburn, like Barnet, was the recipient of countless awards during his lifetime. Blackburn and Barnet became friends in the 1930s, when they met as artists hired to teach in the Federal Art Project (FAP) under the Works Progress Administration (WPA), (Roosevelt’s New Deal plan to counteract the impact of the Great Depression). The Brodsky Center mounted an exhibition of the two colleagues, and Barnet made this print in honor of his deceased friend. Frank Bowling took the opportunity during his residency to move away from the largescale perspective of his paintings to the more intimate one offered by printmaking to make an image honoring his deceased mother Mother Approaching Sixty, 2003 (Plate 62). Born in Guyana, Frank Bowling has been working as an artist since he studied painting at London’s Royal College of Art, where his classmates included David Hockney and R. B. Kitaj. His paintings can be figurative as well as abstract, reflecting the influence of the color-field and abstract expressionist artists he met while living in New York in the mid-1960s. This strong matriarchal figure is a familiar one in

Afro-Caribbean societies. Bowling’s mother exerted an influence on him and photographs of the artist when he reached her age illustrate the strong family resemblance. The print was produced as a fundraiser for Aljira, a Center for Contemporary Art, which mounted a retrospective of the artist’s work in 2003. At the time that Elizabeth Catlett was in residence at the Brodsky Center in 2005, she was 90 years old and was still ready to experiment. She ventured for the first time into combining digital printing with traditional printmaking techniques. She made two prints at the Center, Danys y Liethis (Mother and Child), 2005 and Gossip, 2005 (Plate 63), the latter for The Print Club of New York. This second work on paper depicts two women deeply engaged in conversation—an everyday occurrence across the globe. While at work at the Center, Catlett sat on a stool, hand coloring the print, looking very much like one of the women in her drawing. Gossip was created by the artist through drawing on Mylar in ink and lithographic crayon. The image was then transferred to the plate photographically. The decision was made to create the background digitally. The artist brought various swatches of material with her to Rutgers. These were scanned into the computer, and Catlett built the background she wanted, producing a virtual collage. It was Catlett’s first opportunity to work with the computer, and she found it exciting. Pioneering feminist artist and social activist for peace and equality May Stevens was approaching her 70th year in 1993, when she worked on a lithograph with metallic powders at the Brodsky Center. The content of much of Stevens’s work is social commentary combined with her own personal artistic style. For instance, in the 1970s, she was known for her Big Daddy series (1967–1976), anti–Vietnam War paintings of an American flag enveloping a big-headed figure—a commentary on the military-industrial complex. Her Brodsky Center lithograph, The Remains of the Day, 1993 (Plate 65), like some of her later paintings, shows boats on a sea of words, a metaphor for floating in one’s own dreams and thoughts, possibly bringing to mind the phrase “people at sea.” Water meant much to her, as she grew up on the coast of Massachusetts. The text, written in gold and silver, refers to the way in which people with Alzheimer’s disease—in this case, Stevens’ mother—float on the surface of words, not understanding their meaning. Ironically, Stevens herself eventually died from complications of Alzheimer’s. Another work by Stevens, in the show is The Band Played On (Plate 5) from the Femfolio. Post-minimalist artist Richard Tuttle and John Yau, a cultural critic and poet, both very visible and active in their careers despite their ages, worked collaboratively to produce an innovative artist’s book at the Brodsky Center, The Missing Portrait, 2008 (Plate 66). This spectacular handmade artist’s book is illustrated by Tuttle and also contains a poem by Yau. The book has an arresting cover of a three-dimensional, sculptural lizard, adding to its enigmatic title. Viewers are enticed by the artist’s use of chance scraps of ordinary everyday materials, as well as materials that convey a sense of fragility. A meandering line makes its way throughout the book, seemingly passing the surface and edges of it. The reader is in a constant state of surprise. June Wayne was an American printmaker, tapestry designer, painter, educator, public intellectual, and entrepreneur. She is recognized as having reinvigorated the medium of lithography during the latter half of the 20th century, when she founded the Tamarind Lithography Workshop in Los Angeles to train master printers. June Wayne was 80 years old when she created Whoopers, 1998 (Plate 67). This color lithograph honors the 200th anniversary of the invention of that medium by Alois Senefelder, whose first name can be seen on the lithography stone over which the whooping crane hovers. Wayne uses the rescue of the population of whooping cranes as a metaphor for how she herself rescued printmaking in the United States by producing a population of master printers. The crane in the lithograph can be

42

43 viewed as a fanciful self-portrait. A forest of tamarind trees decorates the stone. In addition to Whoopers, Wayne is represented in this exhibition by her work titled Zinc, mon amour from the Femfolio (Plate 5). Two other artists are represented in The Sages section. Bette Blank takes an amused, but empathetic, look at the consumer society around us, such as the beauty salon, the shoe store, and the food market. In the print Pink Cadillac, 2010 (Plate 60) she generated during her residency, she was inspired by Aretha Franklin’s song “Freeway of Love” to design the pink Cadillac dream car and surround it with Franklin’s lyrics. Elizabeth Catlett’s image, already discussed above, is echoed by that of the former Princeton University history professor turned visual artist Nell Painter, who also designed an image where two women face each other in Wise Woman Disappears, 2017 (Plate 64). But while Catlett’s women are separate individuals, Painter’s women are actually two images of herself. The comparison is interesting: Catlett’s women seen from the outside, and Painter’s from an introspective point of view.

TRIBULATIONS AND ENDINGS Perhaps it is printmaking’s connection to books that has led artists to use print disciplines to reflect on complex issues of life and its various disasters, plagues, and mortal threats. Causes of life’s cessation (natural or man-made), disasters (natural and political), illness, extinction, and the ravishes of time are all represented and memorialized in these works. Works on paper gathered into this theme were made by Eric Avery, Rick Bartow, Kim Berman, Parastou Forouhar, Eileen M. Foti, Randy Hemminghaus, and Marilyn Keating (Plates 68–75). Rick Bartow, a West Coast artist who was an enrolled member of the Mad River Band of the Wiyot Tribe, mourns the death of his grandfather in two memorial fetish raven bundles with gold leaf haloes, Rutgers Raven Bundle Red and Rutgers Raven Bundle Blue, 2005, (Plates 69, 70). The diptych is an homage to the artist’s deceased grandfather and is drawn from mythological themes of human and animal transformation. In Native American cultures, the raven is seen as signifying metamorphosis, a messenger, or the trickster-god. Kim Berman reflects on the tragic history of South Africa with her diptych of fields that were burned to destroy the remains of apartheid. She was in residence at the Brodsky Center in 2007, having come from South Africa when she created the diptych Digging for Truth I and II, 2007 (Plate 68). Her Brodsky Center drypoint and etching relates to the South African Truth and Reconciliation Commission of 1995–1998. The commission was convened to give voice to those who were apartheid’s victims and perpetrators in an effort for restorative justice. Berman’s scorched landscape is being cleared for new growth. Yet digging for the remains of the disappeared during the apartheid regime also must go on as part of the healing process that would bring hope and reconstruction to a postapartheid South Africa. Parastou Forouhar comments on the tragedy of the Africans, who driven to escape and thus prevent being killed by famine and civil wars, surge north via the Mediterranean in boats that often capsize, ironically killing them, anyway. She is Iranian-born but has lived in Germany since 1991. Forouhar’s paper and print edition is entitled Water Mark, 2015 (Plate 74). The Islamic Revolution’s transformative impact on Iran, paired with the omnipresent collective memory of violence in Germany, has generated her body of work, marked by construction of a complex identity informed by these histories and experiences.23 Her powerful image of a capsized vessel with myriad bodies tumbling to their deaths is a reminder of the unstable world we now live in.

Marilyn Keating conveys an optimistic note with her figure of a woman, who has lost a breast to cancer, but is triumphantly alive and well, raising her finger to laugh at fate. Giving Fate the Finger, 1996 (Plate 75), is a handmade paper construction based on Indonesian puppet figures—the arms are jointed so they can assume different positions. The female figure has only one breast; in place of the other is a flower tattoo over a mastectomy scar. Despite her loss, the figure remains vibrant. She has prevailed over breast cancer. The skirt is a compendium of different handmade papers and fibers in a pleated fan shape. All the carved parts of the figure were made by the artist’s own hand. The remaining works collected under this theme relate to disease, deterioration, and death. Eric Avery upends Albrecht Dürer’s Adam and Eve by surrounding them with the diseases that afflict humanity in his monumental relief print and lithograph, Paradise Lost, 2011 (Plate 73). In Relic/Wings, 1999 (Plate 71) Eileen M. Foti depicts natural relics of extinction, while Randy Hemminghaus’s diptych, Fabric Destroyed by Inner Lining, late 1990s–2000 (Plate 72) consists of prints from an inadvertent timebased deterioration of a plate, echoing the deterioration of the human body.

VISUALIZING TEXTS Prints with their origins tied to the invention of movable type in the 15th century often combine text and image. In these works, artists have actually used the look of text itself as image. Works in this section include book-format prints as well as freestanding prints in which text is used as a stylistic convention. Brodsky Center Artists in Residence whose work is about text include Milcah Bassel, Margo Humphrey, Buzz Spector, and Pat Steir and Anne Waldman (Plates 76-79). Milcah Bassel investigates body-space relations through installations, performances, drawing, photography, and other media. At the Brodsky Center she created Father Tongue (Genesis I), 2016 (Plate 76) in which she explores the architectural structuring in Hebrew lettering. Her print gives the words solemnity and power from their shapes, as well as from their meaning. She is American Israeli and lives in New Jersey. The work is composed of stenciled pulp paper painting and the title has a double meaning, referring to the fluidity of language. The Hebrew letters become a conceptual and formal building block for graphics that allude to architectural space. By flipping and inverting the orientation of the same five right-angled letters, she causes the characters and spaces between them to collapse and reconstruct, teetering between the patriarchal roots of traditional Hebrew texts and the modern world. At the same time, her involvement in the Hebrew language is a reference to her own father, a scribe in the Jewish tradition.24 Margo Humphrey uses the pictogram for an autobiographical print, The History of Her Life Written Across Her Face, 1991 (Plate 78). Unlike many Brodsky Center artists in residence, who came to the Center without experience in print- or papermaking techniques, Margo Humphrey was already known as a printmaker and admired for her technical mastery in lithography and her expressive use of color. She explores cultural aspects of the Black American experience through personal stories. In this vivid pictorial narrative Humphrey uses words and images to illuminate her African American heritage and experiences as a Black woman. Buzz Spector completed 17 projects at the Brodsky Center between 2002 and 2008, among them is surface texture, 2003 (Plate 79). Spector is a wordsmith. His work is conceptual and deals with the aesthetic potential of language and perception using paper and books to interrogate the obvious or not so visible and challenge, sometimes whimsically, notions of the printed word. The work in the exhibition is an example of these editions. He plays with contrasting appearances of the same

42

43 viewed as a fanciful self-portrait. A forest of tamarind trees decorates the stone. In addition to Whoopers, Wayne is represented in this exhibition by her work titled Zinc, mon amour from the Femfolio (Plate 5). Two other artists are represented in The Sages section. Bette Blank takes an amused, but empathetic, look at the consumer society around us, such as the beauty salon, the shoe store, and the food market. In the print Pink Cadillac, 2010 (Plate 60) she generated during her residency, she was inspired by Aretha Franklin’s song “Freeway of Love” to design the pink Cadillac dream car and surround it with Franklin’s lyrics. Elizabeth Catlett’s image, already discussed above, is echoed by that of the former Princeton University history professor turned visual artist Nell Painter, who also designed an image where two women face each other in Wise Woman Disappears, 2017 (Plate 64). But while Catlett’s women are separate individuals, Painter’s women are actually two images of herself. The comparison is interesting: Catlett’s women seen from the outside, and Painter’s from an introspective point of view.

TRIBULATIONS AND ENDINGS Perhaps it is printmaking’s connection to books that has led artists to use print disciplines to reflect on complex issues of life and its various disasters, plagues, and mortal threats. Causes of life’s cessation (natural or man-made), disasters (natural and political), illness, extinction, and the ravishes of time are all represented and memorialized in these works. Works on paper gathered into this theme were made by Eric Avery, Rick Bartow, Kim Berman, Parastou Forouhar, Eileen M. Foti, Randy Hemminghaus, and Marilyn Keating (Plates 68–75). Rick Bartow, a West Coast artist who was an enrolled member of the Mad River Band of the Wiyot Tribe, mourns the death of his grandfather in two memorial fetish raven bundles with gold leaf haloes, Rutgers Raven Bundle Red and Rutgers Raven Bundle Blue, 2005, (Plates 69, 70). The diptych is an homage to the artist’s deceased grandfather and is drawn from mythological themes of human and animal transformation. In Native American cultures, the raven is seen as signifying metamorphosis, a messenger, or the trickster-god. Kim Berman reflects on the tragic history of South Africa with her diptych of fields that were burned to destroy the remains of apartheid. She was in residence at the Brodsky Center in 2007, having come from South Africa when she created the diptych Digging for Truth I and II, 2007 (Plate 68). Her Brodsky Center drypoint and etching relates to the South African Truth and Reconciliation Commission of 1995–1998. The commission was convened to give voice to those who were apartheid’s victims and perpetrators in an effort for restorative justice. Berman’s scorched landscape is being cleared for new growth. Yet digging for the remains of the disappeared during the apartheid regime also must go on as part of the healing process that would bring hope and reconstruction to a postapartheid South Africa. Parastou Forouhar comments on the tragedy of the Africans, who driven to escape and thus prevent being killed by famine and civil wars, surge north via the Mediterranean in boats that often capsize, ironically killing them, anyway. She is Iranian-born but has lived in Germany since 1991. Forouhar’s paper and print edition is entitled Water Mark, 2015 (Plate 74). The Islamic Revolution’s transformative impact on Iran, paired with the omnipresent collective memory of violence in Germany, has generated her body of work, marked by construction of a complex identity informed by these histories and experiences.23 Her powerful image of a capsized vessel with myriad bodies tumbling to their deaths is a reminder of the unstable world we now live in.

Marilyn Keating conveys an optimistic note with her figure of a woman, who has lost a breast to cancer, but is triumphantly alive and well, raising her finger to laugh at fate. Giving Fate the Finger, 1996 (Plate 75), is a handmade paper construction based on Indonesian puppet figures—the arms are jointed so they can assume different positions. The female figure has only one breast; in place of the other is a flower tattoo over a mastectomy scar. Despite her loss, the figure remains vibrant. She has prevailed over breast cancer. The skirt is a compendium of different handmade papers and fibers in a pleated fan shape. All the carved parts of the figure were made by the artist’s own hand. The remaining works collected under this theme relate to disease, deterioration, and death. Eric Avery upends Albrecht Dürer’s Adam and Eve by surrounding them with the diseases that afflict humanity in his monumental relief print and lithograph, Paradise Lost, 2011 (Plate 73). In Relic/Wings, 1999 (Plate 71) Eileen M. Foti depicts natural relics of extinction, while Randy Hemminghaus’s diptych, Fabric Destroyed by Inner Lining, late 1990s–2000 (Plate 72) consists of prints from an inadvertent timebased deterioration of a plate, echoing the deterioration of the human body.

VISUALIZING TEXTS Prints with their origins tied to the invention of movable type in the 15th century often combine text and image. In these works, artists have actually used the look of text itself as image. Works in this section include book-format prints as well as freestanding prints in which text is used as a stylistic convention. Brodsky Center Artists in Residence whose work is about text include Milcah Bassel, Margo Humphrey, Buzz Spector, and Pat Steir and Anne Waldman (Plates 76-79). Milcah Bassel investigates body-space relations through installations, performances, drawing, photography, and other media. At the Brodsky Center she created Father Tongue (Genesis I), 2016 (Plate 76) in which she explores the architectural structuring in Hebrew lettering. Her print gives the words solemnity and power from their shapes, as well as from their meaning. She is American Israeli and lives in New Jersey. The work is composed of stenciled pulp paper painting and the title has a double meaning, referring to the fluidity of language. The Hebrew letters become a conceptual and formal building block for graphics that allude to architectural space. By flipping and inverting the orientation of the same five right-angled letters, she causes the characters and spaces between them to collapse and reconstruct, teetering between the patriarchal roots of traditional Hebrew texts and the modern world. At the same time, her involvement in the Hebrew language is a reference to her own father, a scribe in the Jewish tradition.24 Margo Humphrey uses the pictogram for an autobiographical print, The History of Her Life Written Across Her Face, 1991 (Plate 78). Unlike many Brodsky Center artists in residence, who came to the Center without experience in print- or papermaking techniques, Margo Humphrey was already known as a printmaker and admired for her technical mastery in lithography and her expressive use of color. She explores cultural aspects of the Black American experience through personal stories. In this vivid pictorial narrative Humphrey uses words and images to illuminate her African American heritage and experiences as a Black woman. Buzz Spector completed 17 projects at the Brodsky Center between 2002 and 2008, among them is surface texture, 2003 (Plate 79). Spector is a wordsmith. His work is conceptual and deals with the aesthetic potential of language and perception using paper and books to interrogate the obvious or not so visible and challenge, sometimes whimsically, notions of the printed word. The work in the exhibition is an example of these editions. He plays with contrasting appearances of the same

44

45 words, a surface texture, created through string that prints the letters out on top of the paper and string that is positioned between two sheets and pulled out when the sheets are dry, tearing through the upper layer of paper. The last work in this category is an artist’s book, Cry Stall Gaze, 2012 (Plate 77). Artist Pat Steir collaborated with poet Anne Waldman on a book that stretches out, thus involving the viewer to move a considerable distance to view the book from beginning to end. Created as an accordion book, it can also be viewed more traditionally from a fixed point. Steir uses the visual language of drips, splashes, and washes that she has developed over a lifetime to partner with Waldman’s poetry. The abstract imagery and the words intersect, each enhancing the other. In concluding this essay on the history and significance of the Brodsky Center, I can’t think of a better comment than the following one made by Van Gogh in one of his letters: I’ve always thought printing a miracle, the kind of miracle by which a grain of wheat becomes an ear. An everyday miracle — all the greater because it’s everyday. One sows a single drawing on the stone or in the etching plate and one reaps a multitude.25 The joy of printmaking comes through in the creativity and conceptions of the artists who have been in residence at the Brodsky Center. If the goal of the Brodsky Center was to ensure that contemporary artists who are contributing important new ideas about the world, history, and art to the cultural mainstream find voice through printmaking, it has succeeded and continues to do so.

distinguished careers—Stein, for instance, as an esteemed art historian and curator; Bach as the executive director and chief curator at the Association for Public Art (formerly Fairmount Park Art Association), the nation’s first private nonprofit public art organization, chartered in 1872 and dedicated to the integration of public art and urban planning; and Burko as a renowned artist. Brodsky was the third person and first artist to chair the Women’s Caucus for Art, which had been established in 1972 by women members of the College Art Association in protest over their discrimination in the fields of art and art history. She followed in the footsteps of Ann Sutherland Harris and Mary Garrard, both art historians. Brodsky goes on to say that the epiphany that she experienced was not just activist. It was also intellectual and aesthetic. She realized that her ideas as an artist related to feminist art theory, and she credits her mature work as an artist as coming from that realization. The Series moved from a strictly library responsibility to under the purview of the Center for Women in the Arts 8 and Humanities (CWAH) at Rutgers University. See https://www.libraries.rutgers.edu/exhibits/dwas and https://cwah. rutgers.edu/programs/mary-h-dana-women-artists-series/. 9 Ferris Olin, as executive officer of the Institute for Research on Women (IRW) and with ties to the Women Artists Series; Louise Duus, associate dean of Douglass College; and Hildreth York, a professor from Rutgers–Newark Art Department, were her partners in this endeavor. 10 The Models of Persistence Project centered on Minna Citron, who turned 90 during the year of the project, and Bernarda Bryson Shahn, who was 83. 11

12 When it was housed at Rutgers University, the Brodsky Center was one of seven active university-based prominent print workshops. 13 Letter from Barbara Callaway, associate provost, to Judith Brodsky, January 19, 2003 (with a cc to the dean of MGSA, Marilyn Somville, and Joseph Potenza, provost, Rutgers–New Brunswick). 14 Subsequently, in 2005, university president Richard L. McCormick funded a proposal, prepared by Judith K. Brodsky and Ferris Olin, to establish the Institute for Women and Art (IWA), and then he announced in summer 2006 that he appointed them founding co-directors. The institute later changed its name to the Center for Women in the Arts and Humanities (CWAH), 15

1 The headings in this essay refer to the states of printed impressions: del. (delineavit): “he drew it”; imp. (impressit): “he printed it”; and sculp. (sculpsit): “he engraved it.” However, I have taken authorial license for the translations and changed the pronouns. 2

Michael Janofsky, “Looking Locally,” The New York Times April 30, 2023, 4.

3

Ibid., 4.

4 The Brodsky Center was conceived and founded in 1986 by Brodsky as the Rutgers Center for Innovative Print (RCIP). The name changed several times, depending on how the Center developed and also on the preferences of the various directors. It became the Rutgers Center for Innovative Print and Paper (RCIPP) when the papermaking studio was added. In 2006, it became the Brodsky Center for Innovative Editions (BCIE) to honor Judith K. Brodsky. In 2017, the Center left Rutgers, and it is now located at the Pennsylvania Academy of the Fine Arts, where its name is the Brodsky Center at PAFA.

Notes

5 Ferris Olin and Catherine C. Brawer, “Career Markers,” in Making Their Mark: Women Artists Move into the Mainstream, 1970–85 (New York: Abbeville Press, 1989), 205–206. Subsequent studies for the period from 1986 to 2006, published by the activist artist groups the Guerrilla Girls and Brainstormers, paint a comparably dismal picture. See Guerrilla Girls, https://www.guerrillagirls.com/projects/ and Brainstormers, https://www.brainstormersreport. net/research-c1t8a?lightbox=imager7c. Surveys on the status of women and people of color on the faculty of art history programs had been conducted by the College Art Association’s Committee on Women in the Arts in 1973, 1978–1979, 1987–1988, and 1995–1996, evidencing equally abysmal findings. 6 Hrag Vartanian, “Study Claims 80.5 Percent of Artists Represented by NYC’s Top 45 Galleries Are White,” Hyperallergic, June 1 2017. https://hyperallergic.com/382547/study-claims-80-5-of-artists-represented-by-nycs-top45-galleries-are-white/. 7 Brodsky credits her experience as a pioneer in the Feminist Art Movement during its early years in the 1970s for the impetus that led to her lifelong dedication to diversity. She cut her feminist teeth in Philadelphia in 1973 and 1974, collaborating with other young women who, like her, were commencing their professional art careers. They organized a citywide festival celebrating women artists. Named FOCUS: Philadelphia Focuses on Women in the Visual Arts, it was conceived by artist Diane Burko. The organizing committee included art historians and curators like Judith Stein, art educators and administrators like Penny Balkin Bach, and artists like Brodsky who were beginning their academic teaching careers. Brodsky says their work on FOCUS helped them with what became

Undated letter from Rosemary Miles to Judith K. Brodsky.

Letter from David Grant to Amy Lebo, dated July 2, 2007.

16 From its inception, the Brodsky Center (then known as the Rutgers Center for Innovative Print and Paper) was well-known to Johnson & Johnson (J&J). When J&J developed the art collection to hang in its I. M. Pei headquarters building, the company wanted to ensure that the artists in the collection would reflect the diversity of its employees. Knowing that many artists from diverse backgrounds had created projects at the Center, the curator turned to the Brodsky Center to acquire art for the collection. J&J then approached the Brodsky Center with a proposal to help develop a print workshop in Johannesburg, South Africa, where J&J had plants. The company funded the Brodsky Center for over a decade to work with the artist community in South Africa. The result was the establishment of Artist Proof Studio, a print atelier dedicated to working with the community of Black artists. The grant amounts to the Brodsky Center annually varied from $10,000 to $20,000. Some years, Brodsky Center staff went to South Africa. Other years, artists came to the Brodsky Center. The first artists came to Rutgers University just after the abolishment of apartheid. They spent a month developing new approaches in their work since they no longer had to devote their work to anti-apartheid statements. 17

Deborah Solomon, “For Rauschenberg, No Artist Is an Island,” The New York Times, May 14, 2017, 33.

18

Within these thematic sections only a selected number of works will be discussed in depth.

19 “Trenton Doyle Hancock Bio.” Brodsky Center. Rutgers University, accessed May 3, 2016, https://web. archive.org/web/20160503132238/http://www.brodskycenter.org/_pages/ARTISTS/hancock_bio.html. Due to the discontinuation of the original URL an archived version of the page is provided. 20 Excerpted from a review of exhibition Engaging with Nature: American and Native American Artists (A.D. 12002004), Montclair Art Museum May 16, 2010 – September 25, 2011. http://centralnewjersey.com/archives/enagaing-withnature/article_cb371a25-7dda-53d5-8dd2-e06aa9ed2fa9.html. Accessed September 7, 2017; site inactive on July 2, 2023. 21 “Blessingway: Prints by Melanie Yazzie,” Missoula Art Museum, accessed June 4, 2023, https:// missoulaartmuseum.org/exhibits/blessingway-prints-by-melanie-yazzie. 22

“About,” on Lynne Allen’s official website, accessed June 4, 2023, https://www.lynneallen.com/about.

23 Judith K. Brodsky and Ferris Olin, The Fertile Crescent: Gender, Art, and Society (New Brunswick, NJ: Rutgers Institute for Women and Art, 2012), 100. 24 Email message from Milcah Bassel to Ferris Olin, March 24, 2023, and Milcah Bassel’s official website, accessed June 10, 2023, https://www.milcahbassel.com/new-page-2. 25 “To Theo van Gogh. The Hague, on or about Thursday, 29 March and Sunday, 1 April 1883.” Vincent van Gogh The Letters. Van Gogh Museum, Accessed July 2, 2023. https://vangoghletters.org/vg/letters/let333/letter.html.

44

45 words, a surface texture, created through string that prints the letters out on top of the paper and string that is positioned between two sheets and pulled out when the sheets are dry, tearing through the upper layer of paper. The last work in this category is an artist’s book, Cry Stall Gaze, 2012 (Plate 77). Artist Pat Steir collaborated with poet Anne Waldman on a book that stretches out, thus involving the viewer to move a considerable distance to view the book from beginning to end. Created as an accordion book, it can also be viewed more traditionally from a fixed point. Steir uses the visual language of drips, splashes, and washes that she has developed over a lifetime to partner with Waldman’s poetry. The abstract imagery and the words intersect, each enhancing the other. In concluding this essay on the history and significance of the Brodsky Center, I can’t think of a better comment than the following one made by Van Gogh in one of his letters: I’ve always thought printing a miracle, the kind of miracle by which a grain of wheat becomes an ear. An everyday miracle — all the greater because it’s everyday. One sows a single drawing on the stone or in the etching plate and one reaps a multitude.25 The joy of printmaking comes through in the creativity and conceptions of the artists who have been in residence at the Brodsky Center. If the goal of the Brodsky Center was to ensure that contemporary artists who are contributing important new ideas about the world, history, and art to the cultural mainstream find voice through printmaking, it has succeeded and continues to do so.

distinguished careers—Stein, for instance, as an esteemed art historian and curator; Bach as the executive director and chief curator at the Association for Public Art (formerly Fairmount Park Art Association), the nation’s first private nonprofit public art organization, chartered in 1872 and dedicated to the integration of public art and urban planning; and Burko as a renowned artist. Brodsky was the third person and first artist to chair the Women’s Caucus for Art, which had been established in 1972 by women members of the College Art Association in protest over their discrimination in the fields of art and art history. She followed in the footsteps of Ann Sutherland Harris and Mary Garrard, both art historians. Brodsky goes on to say that the epiphany that she experienced was not just activist. It was also intellectual and aesthetic. She realized that her ideas as an artist related to feminist art theory, and she credits her mature work as an artist as coming from that realization. The Series moved from a strictly library responsibility to under the purview of the Center for Women in the Arts 8 and Humanities (CWAH) at Rutgers University. See https://www.libraries.rutgers.edu/exhibits/dwas and https://cwah. rutgers.edu/programs/mary-h-dana-women-artists-series/. 9 Ferris Olin, as executive officer of the Institute for Research on Women (IRW) and with ties to the Women Artists Series; Louise Duus, associate dean of Douglass College; and Hildreth York, a professor from Rutgers–Newark Art Department, were her partners in this endeavor. 10 The Models of Persistence Project centered on Minna Citron, who turned 90 during the year of the project, and Bernarda Bryson Shahn, who was 83. 11

12 When it was housed at Rutgers University, the Brodsky Center was one of seven active university-based prominent print workshops. 13 Letter from Barbara Callaway, associate provost, to Judith Brodsky, January 19, 2003 (with a cc to the dean of MGSA, Marilyn Somville, and Joseph Potenza, provost, Rutgers–New Brunswick). 14 Subsequently, in 2005, university president Richard L. McCormick funded a proposal, prepared by Judith K. Brodsky and Ferris Olin, to establish the Institute for Women and Art (IWA), and then he announced in summer 2006 that he appointed them founding co-directors. The institute later changed its name to the Center for Women in the Arts and Humanities (CWAH), 15

1 The headings in this essay refer to the states of printed impressions: del. (delineavit): “he drew it”; imp. (impressit): “he printed it”; and sculp. (sculpsit): “he engraved it.” However, I have taken authorial license for the translations and changed the pronouns. 2

Michael Janofsky, “Looking Locally,” The New York Times April 30, 2023, 4.

3

Ibid., 4.

4 The Brodsky Center was conceived and founded in 1986 by Brodsky as the Rutgers Center for Innovative Print (RCIP). The name changed several times, depending on how the Center developed and also on the preferences of the various directors. It became the Rutgers Center for Innovative Print and Paper (RCIPP) when the papermaking studio was added. In 2006, it became the Brodsky Center for Innovative Editions (BCIE) to honor Judith K. Brodsky. In 2017, the Center left Rutgers, and it is now located at the Pennsylvania Academy of the Fine Arts, where its name is the Brodsky Center at PAFA.

Notes

5 Ferris Olin and Catherine C. Brawer, “Career Markers,” in Making Their Mark: Women Artists Move into the Mainstream, 1970–85 (New York: Abbeville Press, 1989), 205–206. Subsequent studies for the period from 1986 to 2006, published by the activist artist groups the Guerrilla Girls and Brainstormers, paint a comparably dismal picture. See Guerrilla Girls, https://www.guerrillagirls.com/projects/ and Brainstormers, https://www.brainstormersreport. net/research-c1t8a?lightbox=imager7c. Surveys on the status of women and people of color on the faculty of art history programs had been conducted by the College Art Association’s Committee on Women in the Arts in 1973, 1978–1979, 1987–1988, and 1995–1996, evidencing equally abysmal findings. 6 Hrag Vartanian, “Study Claims 80.5 Percent of Artists Represented by NYC’s Top 45 Galleries Are White,” Hyperallergic, June 1 2017. https://hyperallergic.com/382547/study-claims-80-5-of-artists-represented-by-nycs-top45-galleries-are-white/. 7 Brodsky credits her experience as a pioneer in the Feminist Art Movement during its early years in the 1970s for the impetus that led to her lifelong dedication to diversity. She cut her feminist teeth in Philadelphia in 1973 and 1974, collaborating with other young women who, like her, were commencing their professional art careers. They organized a citywide festival celebrating women artists. Named FOCUS: Philadelphia Focuses on Women in the Visual Arts, it was conceived by artist Diane Burko. The organizing committee included art historians and curators like Judith Stein, art educators and administrators like Penny Balkin Bach, and artists like Brodsky who were beginning their academic teaching careers. Brodsky says their work on FOCUS helped them with what became

Undated letter from Rosemary Miles to Judith K. Brodsky.

Letter from David Grant to Amy Lebo, dated July 2, 2007.

16 From its inception, the Brodsky Center (then known as the Rutgers Center for Innovative Print and Paper) was well-known to Johnson & Johnson (J&J). When J&J developed the art collection to hang in its I. M. Pei headquarters building, the company wanted to ensure that the artists in the collection would reflect the diversity of its employees. Knowing that many artists from diverse backgrounds had created projects at the Center, the curator turned to the Brodsky Center to acquire art for the collection. J&J then approached the Brodsky Center with a proposal to help develop a print workshop in Johannesburg, South Africa, where J&J had plants. The company funded the Brodsky Center for over a decade to work with the artist community in South Africa. The result was the establishment of Artist Proof Studio, a print atelier dedicated to working with the community of Black artists. The grant amounts to the Brodsky Center annually varied from $10,000 to $20,000. Some years, Brodsky Center staff went to South Africa. Other years, artists came to the Brodsky Center. The first artists came to Rutgers University just after the abolishment of apartheid. They spent a month developing new approaches in their work since they no longer had to devote their work to anti-apartheid statements. 17

Deborah Solomon, “For Rauschenberg, No Artist Is an Island,” The New York Times, May 14, 2017, 33.

18

Within these thematic sections only a selected number of works will be discussed in depth.

19 “Trenton Doyle Hancock Bio.” Brodsky Center. Rutgers University, accessed May 3, 2016, https://web. archive.org/web/20160503132238/http://www.brodskycenter.org/_pages/ARTISTS/hancock_bio.html. Due to the discontinuation of the original URL an archived version of the page is provided. 20 Excerpted from a review of exhibition Engaging with Nature: American and Native American Artists (A.D. 12002004), Montclair Art Museum May 16, 2010 – September 25, 2011. http://centralnewjersey.com/archives/enagaing-withnature/article_cb371a25-7dda-53d5-8dd2-e06aa9ed2fa9.html. Accessed September 7, 2017; site inactive on July 2, 2023. 21 “Blessingway: Prints by Melanie Yazzie,” Missoula Art Museum, accessed June 4, 2023, https:// missoulaartmuseum.org/exhibits/blessingway-prints-by-melanie-yazzie. 22

“About,” on Lynne Allen’s official website, accessed June 4, 2023, https://www.lynneallen.com/about.

23 Judith K. Brodsky and Ferris Olin, The Fertile Crescent: Gender, Art, and Society (New Brunswick, NJ: Rutgers Institute for Women and Art, 2012), 100. 24 Email message from Milcah Bassel to Ferris Olin, March 24, 2023, and Milcah Bassel’s official website, accessed June 10, 2023, https://www.milcahbassel.com/new-page-2. 25 “To Theo van Gogh. The Hague, on or about Thursday, 29 March and Sunday, 1 April 1883.” Vincent van Gogh The Letters. Van Gogh Museum, Accessed July 2, 2023. https://vangoghletters.org/vg/letters/let333/letter.html.

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Brodsky Center Artists in Residence, 1986–2017 The Brodsky Center hosted approximately 400 visiting artists-in-residence during the years it was located at Rutgers University. As documented throughout this exhibition and catalog, those from the United States represented the diverse populations of the country including artists from various Native American nations as well as artists from many other communities and countries, particularly nations undergoing transition. Among the countries represented were Argentina, Barbados, Brazil, Bulgaria, Chile, China, Cuba, Dominican Republic, Germany, Ghana, Guatemala, Guyana, Hungary, India, Iran, Israel, Japan, Korea, Lebanon, Lithuania, Mexico, Nigeria, Peru, Philippines, Russia, Slovakia, Slovenia, South Africa, Spain, Sweden, United Kingdom, and Ukraine.

Pacita Abad

Nancy Azara

Siona Benjamin

Rita Deanin Abbey

Nina Lola Bachhuber

Kim Berman

Manuel Acevedo

Jo Baer

Mike Alewitz

Hetty Baiz

Mei-mei Bersenbrugge (with Kiki Smith)

Clytie Alexander

Jozef Bajus

Lynne Allen

Zeina Barakeh

David Ambrose Emma Amos El Anatsui Alejandro Anreus

Laura Anderson Barbata

Leon Bibel Willie Birch Bette Blank Elena Blasco

Will Barnet

Carmen Inés Blondet

Bill Barrell

Serena Bocchino

Rick Bartow

Terry E. Boddie

Milcah Bassel

Chakaia Booker

Hugo Bastidas

Frank Bowling

Inez Aponte

Catherine Bebout

Sonia Boyce

Peter Arakawa

Miriam Beerman

Paul Brach

Alexandre Arrechea

Deborah Bell

Sarah Brayer

Dotty Attie

Boris Belsky

Mona Brody

John Atura

Asaph Ben-Menahem

Eric Avery Luis Cruz Azaceta

Eleanor Antin Małgorzata Antoszewska-Moneta

R. G. Brown

Cicely Cottingham

Spencer Finch

Craig Buckbee

Patricia Dahlman

Howard Finster

Barbara Bullock

Betsy Damon

Meg Fish

Diane Burko

Anuhadra Das

Caroline Burton

Annalee Davis

Sherman Fleming (with Homer Jackson)

Charles Burwell

Victor Davson

Silvia Teresa Flota Reyes

Lynn H. Butler

Gail Deery

Parastou Forouhar

Tom Butterfoss

Michael Dal Cerro

Carson Fox

Joan Eda Byrd

Nadine DeLawrence

Olga Fradkin

Judy Byron

Elena del Rivero

Helen Frederick

Jose Camacho

Lesley Dill

Ismael Frigerio

María Magdalena Campos-Pons

Robert DiMatteo

Oscar Manuel Garcia Castro

Phyllis Carlin Katharine Carter Nanette Carter Elizabeth Catlett Giovanna Cecchetti Wei Jane Chir Corwin Clairmont Lorenzo Clayton Jacqueline Clipsham Angela Cockman Nancy Cohen Willie Cole

Kate Dodd David Driskell Jane Eccles Mary Beth Edelson Elisabeth Dirilo Eder Melvin Edwards Elena Elagina Dahlia Elsayed Eugenio Espinosa Lauren Ewing Eduardo Fausti Ming Fay Joe Feddersen

Moe Brooker

John Coletti (with Kiki Smith)

Skylar Fein

Anita Benarde

Emily Brown

Zhiyuan Cong

Walter Feldman

Lynda Benglis

James Andrew Brown

Alfonso Corpus

Lori Field

Chitra Ganesh Carmen Lomas Garza Vivian George Sam Gilliam Suellen Glashausser Leon Golub Diana González Gandolfi John Goodyear Sue Gosin Melissa Gould Gladys Barker Grauer Grace Graupe-Pillard Renée Green Gerry Griffin Marina Gutierrez

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47

Brodsky Center Artists in Residence, 1986–2017 The Brodsky Center hosted approximately 400 visiting artists-in-residence during the years it was located at Rutgers University. As documented throughout this exhibition and catalog, those from the United States represented the diverse populations of the country including artists from various Native American nations as well as artists from many other communities and countries, particularly nations undergoing transition. Among the countries represented were Argentina, Barbados, Brazil, Bulgaria, Chile, China, Cuba, Dominican Republic, Germany, Ghana, Guatemala, Guyana, Hungary, India, Iran, Israel, Japan, Korea, Lebanon, Lithuania, Mexico, Nigeria, Peru, Philippines, Russia, Slovakia, Slovenia, South Africa, Spain, Sweden, United Kingdom, and Ukraine.

Pacita Abad

Nancy Azara

Siona Benjamin

Rita Deanin Abbey

Nina Lola Bachhuber

Kim Berman

Manuel Acevedo

Jo Baer

Mike Alewitz

Hetty Baiz

Mei-mei Bersenbrugge (with Kiki Smith)

Clytie Alexander

Jozef Bajus

Lynne Allen

Zeina Barakeh

David Ambrose Emma Amos El Anatsui Alejandro Anreus

Laura Anderson Barbata

Leon Bibel Willie Birch Bette Blank Elena Blasco

Will Barnet

Carmen Inés Blondet

Bill Barrell

Serena Bocchino

Rick Bartow

Terry E. Boddie

Milcah Bassel

Chakaia Booker

Hugo Bastidas

Frank Bowling

Inez Aponte

Catherine Bebout

Sonia Boyce

Peter Arakawa

Miriam Beerman

Paul Brach

Alexandre Arrechea

Deborah Bell

Sarah Brayer

Dotty Attie

Boris Belsky

Mona Brody

John Atura

Asaph Ben-Menahem

Eric Avery Luis Cruz Azaceta

Eleanor Antin Małgorzata Antoszewska-Moneta

R. G. Brown

Cicely Cottingham

Spencer Finch

Craig Buckbee

Patricia Dahlman

Howard Finster

Barbara Bullock

Betsy Damon

Meg Fish

Diane Burko

Anuhadra Das

Caroline Burton

Annalee Davis

Sherman Fleming (with Homer Jackson)

Charles Burwell

Victor Davson

Silvia Teresa Flota Reyes

Lynn H. Butler

Gail Deery

Parastou Forouhar

Tom Butterfoss

Michael Dal Cerro

Carson Fox

Joan Eda Byrd

Nadine DeLawrence

Olga Fradkin

Judy Byron

Elena del Rivero

Helen Frederick

Jose Camacho

Lesley Dill

Ismael Frigerio

María Magdalena Campos-Pons

Robert DiMatteo

Oscar Manuel Garcia Castro

Phyllis Carlin Katharine Carter Nanette Carter Elizabeth Catlett Giovanna Cecchetti Wei Jane Chir Corwin Clairmont Lorenzo Clayton Jacqueline Clipsham Angela Cockman Nancy Cohen Willie Cole

Kate Dodd David Driskell Jane Eccles Mary Beth Edelson Elisabeth Dirilo Eder Melvin Edwards Elena Elagina Dahlia Elsayed Eugenio Espinosa Lauren Ewing Eduardo Fausti Ming Fay Joe Feddersen

Moe Brooker

John Coletti (with Kiki Smith)

Skylar Fein

Anita Benarde

Emily Brown

Zhiyuan Cong

Walter Feldman

Lynda Benglis

James Andrew Brown

Alfonso Corpus

Lori Field

Chitra Ganesh Carmen Lomas Garza Vivian George Sam Gilliam Suellen Glashausser Leon Golub Diana González Gandolfi John Goodyear Sue Gosin Melissa Gould Gladys Barker Grauer Grace Graupe-Pillard Renée Green Gerry Griffin Marina Gutierrez

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Brodsky Center Artists in Residence, 1986–2017 Daphna Guttmann

Kenneth Jones

jc lenochan

Lucy Graves McVicker

Pedro Ospina

Harmony Hammond

Jeff Joyce

Christopher Lesnewski

Tony Melendez

Farah Ossouli

Valerie Hammond

Isaac Julien

Marsha Levin-Rojer

Geanna Merola

Lorenzo Pace

Trenton Doyle Hancock

Bahman Kalantari

Glenn Ligon

Amalia Mesa-Bains

Nell Painter

Carol Hanson

Nicolas Kamarov

Hew Locke

Maria Mijares

Franc Palaia

Roberta Harley

Deborah Kass

Juan Logan

Chuck Miley

Evgenij Pantev

Paul Harryn

Marilyn Keating

George Longfish

Melissa Miller

Anthony Panzera

Lázaro Saavedra González

Mona Hatoum

Sohlamane Keita

Yolanda López

Ruane Miller

Dot Paolo

Debra Sachs

Barkley L. Hendricks

Don Kennell

Jeannette Louie

Yong Soon Min

Peter Paone

John Salvest

Geoffrey Hendricks

William Kentridge

Tristan Lowe

Katherine Mojzsis

Katherine Parker

Juan Sánchez

Anaida Hernández

Nancy Kern

Truman Lowe

Paul Molete

Catalina Parra

Mayumi Sarai

Charles Hewitt

Tiko Kerr

Sven Robert Lundquist

Ben Patterson

Judith Schaecter

Paul Bennett Hirsch

Byron Kim

Maria Lupo

Angelo Monaco (with Sebastian Wecer)

John Patterson

Miriam Schapiro

Donna Payton

Kenneth B. Schnall

Gary Petersen

Carolee Schneemann

German Pitre

Holli Schorno

Adam Pitt

Joyce Scott

Michael Platt

Anne Seidman

Irina Nakhova

Augustin Portillo Lozoya

Joan Semmel

Abdoulaye Ndoye

Archie Rand

Karisa Senavitis (with Kevin O’Neill)

Joan Needham

Jon Rappleye

Ela Shah

Stuart Netsky

Karina Raude

Roger Shimomura

Diane Neumaier

Sándor Ráchmolnár

Penny Siopis

Chris Ofili

Betsy Regan

Edyth Skinner

Kevin O’Neill (with Karisa Senevitis)

Stephanie Regan

Sandy Skoglund

Duke Riley

Sylvia Sleigh

Faith Ringgold

Jaune Quick-to-See Smith

Susan Hockaday Eileen HohmuthLemonick Diane Horn Margo Humphrey Eve Ingalls Michi Itami

Barbara Klein Gary Komarin Nikolai Kamarov Joyce Kozloff Janice Krasnow Hiroshi Kumagai Jayeon Kwon

Deborah Luster Margo Machida Robert Mahon Igor Makarevich Eva Mantell China Marks Allegra Marquart

Juan Moro Jill Moser Hiroshi Murata Margaret Murphy Harry Naar Tom Nakashima

Homer Jackson (with Sherman Fleming)

Elspeth Lamb

Kerry James Marshall

Stefanie Jackson

Gary Lang

Marí de Mater O’Neill

Martha Jackson Jarvis

Frank LaPena

Grace Matthews

Jeanne Jaffe

Caroline Lathan-Stiefel

Sarah McEneaney

John Jodzio

James Lavadour

Phyllis McGibbon

Carmen Cartiness Johnson

Enrique Leal

Karen McLean

Ronna Lebo

Winifred McNeill

Philip Orenstein

Jessica Lenard

Charles McVicker

Valery Orlov

Margaret Kennard Johnson

Pepón Osorio

Freddy Rodriquez

Gloria Rodríguez Calero Marc Rosenquist Egidijus Rudinskas Michiko Rupnow Halina Rusak

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Brodsky Center Artists in Residence, 1986–2017 Daphna Guttmann

Kenneth Jones

jc lenochan

Lucy Graves McVicker

Pedro Ospina

Harmony Hammond

Jeff Joyce

Christopher Lesnewski

Tony Melendez

Farah Ossouli

Valerie Hammond

Isaac Julien

Marsha Levin-Rojer

Geanna Merola

Lorenzo Pace

Trenton Doyle Hancock

Bahman Kalantari

Glenn Ligon

Amalia Mesa-Bains

Nell Painter

Carol Hanson

Nicolas Kamarov

Hew Locke

Maria Mijares

Franc Palaia

Roberta Harley

Deborah Kass

Juan Logan

Chuck Miley

Evgenij Pantev

Paul Harryn

Marilyn Keating

George Longfish

Melissa Miller

Anthony Panzera

Lázaro Saavedra González

Mona Hatoum

Sohlamane Keita

Yolanda López

Ruane Miller

Dot Paolo

Debra Sachs

Barkley L. Hendricks

Don Kennell

Jeannette Louie

Yong Soon Min

Peter Paone

John Salvest

Geoffrey Hendricks

William Kentridge

Tristan Lowe

Katherine Mojzsis

Katherine Parker

Juan Sánchez

Anaida Hernández

Nancy Kern

Truman Lowe

Paul Molete

Catalina Parra

Mayumi Sarai

Charles Hewitt

Tiko Kerr

Sven Robert Lundquist

Ben Patterson

Judith Schaecter

Paul Bennett Hirsch

Byron Kim

Maria Lupo

Angelo Monaco (with Sebastian Wecer)

John Patterson

Miriam Schapiro

Donna Payton

Kenneth B. Schnall

Gary Petersen

Carolee Schneemann

German Pitre

Holli Schorno

Adam Pitt

Joyce Scott

Michael Platt

Anne Seidman

Irina Nakhova

Augustin Portillo Lozoya

Joan Semmel

Abdoulaye Ndoye

Archie Rand

Karisa Senavitis (with Kevin O’Neill)

Joan Needham

Jon Rappleye

Ela Shah

Stuart Netsky

Karina Raude

Roger Shimomura

Diane Neumaier

Sándor Ráchmolnár

Penny Siopis

Chris Ofili

Betsy Regan

Edyth Skinner

Kevin O’Neill (with Karisa Senevitis)

Stephanie Regan

Sandy Skoglund

Duke Riley

Sylvia Sleigh

Faith Ringgold

Jaune Quick-to-See Smith

Susan Hockaday Eileen HohmuthLemonick Diane Horn Margo Humphrey Eve Ingalls Michi Itami

Barbara Klein Gary Komarin Nikolai Kamarov Joyce Kozloff Janice Krasnow Hiroshi Kumagai Jayeon Kwon

Deborah Luster Margo Machida Robert Mahon Igor Makarevich Eva Mantell China Marks Allegra Marquart

Juan Moro Jill Moser Hiroshi Murata Margaret Murphy Harry Naar Tom Nakashima

Homer Jackson (with Sherman Fleming)

Elspeth Lamb

Kerry James Marshall

Stefanie Jackson

Gary Lang

Marí de Mater O’Neill

Martha Jackson Jarvis

Frank LaPena

Grace Matthews

Jeanne Jaffe

Caroline Lathan-Stiefel

Sarah McEneaney

John Jodzio

James Lavadour

Phyllis McGibbon

Carmen Cartiness Johnson

Enrique Leal

Karen McLean

Ronna Lebo

Winifred McNeill

Philip Orenstein

Jessica Lenard

Charles McVicker

Valery Orlov

Margaret Kennard Johnson

Pepón Osorio

Freddy Rodriquez

Gloria Rodríguez Calero Marc Rosenquist Egidijus Rudinskas Michiko Rupnow Halina Rusak

50

Brodsky Center Artists in Residence, 1986–2017 Kiki Smith Kiki Smith (with John Coletti)

Richard Tuttle (with John Yau) Rhonda Lee Tymeson

Shun Kit Wong Nhlanhla Xaba Nami Yamamoto

Kiki Smith (with Mei-mei Bersenbrugge)

Richard Upton

Sheila Smith-Duffy

Vilja Virks-Lee

John Yau (with Richard Tuttle)

Joan Snyder

Joe Waks

Melanie Yazzie

Armando Sosa

Anne Waldman (with Pat Steir)

Fred Yee

Bentley Spang Buzz Spector Nancy Spero Zora Stančič

Gregory Van Maanen

Shelley Warren Bisa Washington Stella Waitzkin Mike Waugh

Pat Steir (with Anne Waldman)

June Wayne

May Stevens

Chuck Webster

Linda Stoudt

Sebastian Wecer (with Angelo Monaco)

Peter Stroud Patric Strzelec Marie Sturken Bibiana Suárez Grzegorz Szpila Athena Tacha Janet Taylor-Pickett Motsamai Thabane Mickalene Thomas Molefe Thwala Nancy Tobin Bill Trent Sergei Tsvetkov

Carrie Mae Weems Debra Weier Alison Weld Carol D. Westfall Stephen Westfall Peter Whitney Sue Williamson Amy Wilson Fred Wilson June Wilson  Martha Wilson Mathew Allen Wilson Suzanne Winkler

Carrie Yamaoka

Charlotte Yudis Maureen Zeglen Bruno Zeppill

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Brodsky Center Artists in Residence, 1986–2017 Kiki Smith Kiki Smith (with John Coletti)

Richard Tuttle (with John Yau) Rhonda Lee Tymeson

Shun Kit Wong Nhlanhla Xaba Nami Yamamoto

Kiki Smith (with Mei-mei Bersenbrugge)

Richard Upton

Sheila Smith-Duffy

Vilja Virks-Lee

John Yau (with Richard Tuttle)

Joan Snyder

Joe Waks

Melanie Yazzie

Armando Sosa

Anne Waldman (with Pat Steir)

Fred Yee

Bentley Spang Buzz Spector Nancy Spero Zora Stančič

Gregory Van Maanen

Shelley Warren Bisa Washington Stella Waitzkin Mike Waugh

Pat Steir (with Anne Waldman)

June Wayne

May Stevens

Chuck Webster

Linda Stoudt

Sebastian Wecer (with Angelo Monaco)

Peter Stroud Patric Strzelec Marie Sturken Bibiana Suárez Grzegorz Szpila Athena Tacha Janet Taylor-Pickett Motsamai Thabane Mickalene Thomas Molefe Thwala Nancy Tobin Bill Trent Sergei Tsvetkov

Carrie Mae Weems Debra Weier Alison Weld Carol D. Westfall Stephen Westfall Peter Whitney Sue Williamson Amy Wilson Fred Wilson June Wilson  Martha Wilson Mathew Allen Wilson Suzanne Winkler

Carrie Yamaoka

Charlotte Yudis Maureen Zeglen Bruno Zeppill

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53

The Brodsky Center: Essence and Emblems

Willie Birch Willie Cole Marina Gutierrez Jaune Quick-to-See Smith Femfolio: Emma Amos, Eleanor Antin, Nancy Azara,

Plates

Betsy Damon, Mary Beth Edelson, Lauren Ewing, Harmony Hammond, Joyce Kozloff, Diane Neumaier, Faith Ringgold, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Sylvia Sleigh, Joan Snyder, Nancy Spero, May Stevens, Athena Tacha, June Wayne, and Martha Wilson

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53

The Brodsky Center: Essence and Emblems

Willie Birch Willie Cole Marina Gutierrez Jaune Quick-to-See Smith Femfolio: Emma Amos, Eleanor Antin, Nancy Azara,

Plates

Betsy Damon, Mary Beth Edelson, Lauren Ewing, Harmony Hammond, Joyce Kozloff, Diane Neumaier, Faith Ringgold, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Sylvia Sleigh, Joan Snyder, Nancy Spero, May Stevens, Athena Tacha, June Wayne, and Martha Wilson

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Plate 1 Willie Birch, Million Man March, 1995 Collaborating printer: Gail Deery Handmade paper, pulp painting, collagraph, and collage, 60 × 26 in. (152.4 × 66 cm)

Plate 2 Willie Cole, Silex Male, Ritual, 2004 Collaborating printer: Josh Azzarella Digital print on Arches Infinity digital paper, 61 x 41 in. (154.9 x 104.1 cm)

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Plate 1 Willie Birch, Million Man March, 1995 Collaborating printer: Gail Deery Handmade paper, pulp painting, collagraph, and collage, 60 × 26 in. (152.4 × 66 cm)

Plate 2 Willie Cole, Silex Male, Ritual, 2004 Collaborating printer: Josh Azzarella Digital print on Arches Infinity digital paper, 61 x 41 in. (154.9 x 104.1 cm)

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Detail: Marina Gutierrez, Reaching Mut

Plate 3 Marina Gutierrez, Reaching Mut, 1994 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph, collagraph with hand coloring, embossing, chine collé, and stitching, two sheets, each 41.25 × 29.5 in. (104.78 × 74.9 cm)

Plate 4 Jaune Quick-to-See Smith, What Is an American?, 2003 Collaborating printer: Eileen M. Foti Lithograph with chine collé, collage, hand painting, and grommets, 69 × 40.1 in. (175.3 × 101.8 cm)

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Detail: Marina Gutierrez, Reaching Mut

Plate 3 Marina Gutierrez, Reaching Mut, 1994 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph, collagraph with hand coloring, embossing, chine collé, and stitching, two sheets, each 41.25 × 29.5 in. (104.78 × 74.9 cm)

Plate 4 Jaune Quick-to-See Smith, What Is an American?, 2003 Collaborating printer: Eileen M. Foti Lithograph with chine collé, collage, hand painting, and grommets, 69 × 40.1 in. (175.3 × 101.8 cm)

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Emma Amos, Identity Digital print, hand lithography on Hahnemühle German Etching paper

Eleanor Antin, Dance of Death Color digital print on Hiromi Zangetsu paper

Nancy Azara, Broken Leaf Color digital print with pochoir and hand lithography on Arches Infinity paper

Betsy Damon, Blue Hole Digital print, hand lithography, hand coloring on Somerset Enhanced Velvet paper

Plate 5 (Pages 58-63) Femfolio, 2007 Emma Amos, Eleanor Antin, Nancy Azara, Betsy Damon, Mary Beth Edelson, Lauren Ewing, Harmony Hammond, Joyce Kozloff, Diane Neumaier, Faith Ringgold, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Sylvia Sleigh, Joan Snyder, Nancy Spero, May Stevens, Athena Tacha, June Wayne and Martha Wilson Collaborating printers: John C. Erickson, Josh Azzarella, and Sandra Sewing Edition Printer: John C. Erickson Each 12 × 12 (30.5 × 30.5 cm)

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Emma Amos, Identity Digital print, hand lithography on Hahnemühle German Etching paper

Eleanor Antin, Dance of Death Color digital print on Hiromi Zangetsu paper

Nancy Azara, Broken Leaf Color digital print with pochoir and hand lithography on Arches Infinity paper

Betsy Damon, Blue Hole Digital print, hand lithography, hand coloring on Somerset Enhanced Velvet paper

Plate 5 (Pages 58-63) Femfolio, 2007 Emma Amos, Eleanor Antin, Nancy Azara, Betsy Damon, Mary Beth Edelson, Lauren Ewing, Harmony Hammond, Joyce Kozloff, Diane Neumaier, Faith Ringgold, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Sylvia Sleigh, Joan Snyder, Nancy Spero, May Stevens, Athena Tacha, June Wayne and Martha Wilson Collaborating printers: John C. Erickson, Josh Azzarella, and Sandra Sewing Edition Printer: John C. Erickson Each 12 × 12 (30.5 × 30.5 cm)

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Mary Beth Edelson, Goddess Head/Soft Digital print, hand lithography on Somerset Enhanced Velvet paper

Lauren Ewing, For Magritte Digital print, hand lithography on Epson Enhanced Matte paper

Diane Neumaier, Toccata Digital print, hand lithography on Hahnemühle German Etching paper

Faith Ringgold, Coming to Jones Road: Under a Blood Red Sky #8 Digital print, hand lithography on Somerset Enhanced Velvet paper

Harmony Hammond, Double Elegy Digital print, hand lithography on Hahnemühle German Etching paper

Joyce Kozloff, Maui: Sugar Plantation Color digital print, hand lithography on Hahnemühle German Etching paper

Miriam Schapiro, Court Jester Digital print, hand lithography on Arches Infinity paper

Carolee Schneemann, Evidence Digital print, hand lithography on Hahnemühle German Etching paper

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Mary Beth Edelson, Goddess Head/Soft Digital print, hand lithography on Somerset Enhanced Velvet paper

Lauren Ewing, For Magritte Digital print, hand lithography on Epson Enhanced Matte paper

Diane Neumaier, Toccata Digital print, hand lithography on Hahnemühle German Etching paper

Faith Ringgold, Coming to Jones Road: Under a Blood Red Sky #8 Digital print, hand lithography on Somerset Enhanced Velvet paper

Harmony Hammond, Double Elegy Digital print, hand lithography on Hahnemühle German Etching paper

Joyce Kozloff, Maui: Sugar Plantation Color digital print, hand lithography on Hahnemühle German Etching paper

Miriam Schapiro, Court Jester Digital print, hand lithography on Arches Infinity paper

Carolee Schneemann, Evidence Digital print, hand lithography on Hahnemühle German Etching paper

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Joan Semmel, Untitled Color digital print on Somerset Enhanced Velvet paper

Sylvia Sleigh, Douglas John and Ms. Smith Digital print, hand lithography on Somerset Enhanced Velvet paper

May Stevens, The Band Played On Digital print, hand lithography and gold dusting on Rives BFK white paper

Athena Tacha, Knots Two-run lithograph on Arches Cover black paper

Joan Snyder, Angry Women Color digital print, hand lithography and hand coloring on Hahnemühle German Etching paper

Nancy Spero, Maypole-War Color digital print, hand lithography on Hiromi digital kozo white paper

June Wayne, Zinc, Mon Amour Digital print

Martha Wilson, I Make Up the Image of My Perfection/I Make Up the Image of My Deformity Color digital print, hand lithography on Somerset Enhanced Velvet paper

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Joan Semmel, Untitled Color digital print on Somerset Enhanced Velvet paper

Sylvia Sleigh, Douglas John and Ms. Smith Digital print, hand lithography on Somerset Enhanced Velvet paper

May Stevens, The Band Played On Digital print, hand lithography and gold dusting on Rives BFK white paper

Athena Tacha, Knots Two-run lithograph on Arches Cover black paper

Joan Snyder, Angry Women Color digital print, hand lithography and hand coloring on Hahnemühle German Etching paper

Nancy Spero, Maypole-War Color digital print, hand lithography on Hiromi digital kozo white paper

June Wayne, Zinc, Mon Amour Digital print

Martha Wilson, I Make Up the Image of My Perfection/I Make Up the Image of My Deformity Color digital print, hand lithography on Somerset Enhanced Velvet paper

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65 Cultural Vitality and Social Justice

Melvin Edwards Leon Golub Gladys Barker Grauer Trenton Doyle Hancock Hew Locke Igor Makarevich Philip Orenstein Faith Ringgold Gloria Rodríguez Calero Fred Wilson

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65 Cultural Vitality and Social Justice

Melvin Edwards Leon Golub Gladys Barker Grauer Trenton Doyle Hancock Hew Locke Igor Makarevich Philip Orenstein Faith Ringgold Gloria Rodríguez Calero Fred Wilson

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Plate 6 Melvin Edwards, Curtain for Friends, 2015 Collaborating printer: Randy Hemminghaus Edition printer: Alex Kirillov Three-color lithograph on two sheets, each 28 × 23.6 in. (71.2 × 60 cm)

67

Plate 7 Gladys Barker Grauer, I Wish the Rent Was Heaven Sent, 1992 Collaborating printer: Anya Szykitka Four-color lithograph, 22.4 × 30.1 in. (56.9 × 76.4 cm)

66

Plate 6 Melvin Edwards, Curtain for Friends, 2015 Collaborating printer: Randy Hemminghaus Edition printer: Alex Kirillov Three-color lithograph on two sheets, each 28 × 23.6 in. (71.2 × 60 cm)

67

Plate 7 Gladys Barker Grauer, I Wish the Rent Was Heaven Sent, 1992 Collaborating printer: Anya Szykitka Four-color lithograph, 22.4 × 30.1 in. (56.9 × 76.4 cm)

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Plate 8 Leon Golub, White Squad, 1987 Collaborating printers: John Hutcheson and Kate Notman at Palisades Press Edition printers: John Hutcheson with assistance from Mary Bauer, Eli Dock, and Mary Jane Formica Three-color lithograph, 29.5 × 41.25 in. (74.9 × 107.8 cm)

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Plate 8 Leon Golub, White Squad, 1987 Collaborating printers: John Hutcheson and Kate Notman at Palisades Press Edition printers: John Hutcheson with assistance from Mary Bauer, Eli Dock, and Mary Jane Formica Three-color lithograph, 29.5 × 41.25 in. (74.9 × 107.8 cm)

70 Plate 9 Trenton Doyle Hancock, Fix, 2008 Collaborating printer: Randy Hemminghaus Edition printer: Randy Hemminghaus Portfolio of 20 prints with etching, lithography, and silk screen on Sekishu colléd onto Somerset Velvet white paper, image size, 10 x 10 in., each 14 × 14 in. (35.6 × 35.6 cm)

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70 Plate 9 Trenton Doyle Hancock, Fix, 2008 Collaborating printer: Randy Hemminghaus Edition printer: Randy Hemminghaus Portfolio of 20 prints with etching, lithography, and silk screen on Sekishu colléd onto Somerset Velvet white paper, image size, 10 x 10 in., each 14 × 14 in. (35.6 × 35.6 cm)

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Plate 11 Igor Makarevich, Diary, 1998 Collaborating printers: Randy Hemminghaus and Gail Deery Photogravure platemaker: Jonathan Higgins Lithograph, photogravure, and chine collé on Arches Cover buff paper and Kitakata paper, 22 × 30 in. (56 × 76 cm)

Plate 10 Hew Locke, The Prize from Rivington Place Portfolio, 2007 Collaborating printer: Randy Hemminghaus Digital prints with silk screen, cut in 43 pieces and re-collaged into a three-dimensional object with collaged elements, 30 × 25 × 5 in. (76.2 × 63.5 × 12.7 cm)

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Plate 11 Igor Makarevich, Diary, 1998 Collaborating printers: Randy Hemminghaus and Gail Deery Photogravure platemaker: Jonathan Higgins Lithograph, photogravure, and chine collé on Arches Cover buff paper and Kitakata paper, 22 × 30 in. (56 × 76 cm)

Plate 10 Hew Locke, The Prize from Rivington Place Portfolio, 2007 Collaborating printer: Randy Hemminghaus Digital prints with silk screen, cut in 43 pieces and re-collaged into a three-dimensional object with collaged elements, 30 × 25 × 5 in. (76.2 × 63.5 × 12.7 cm)

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Plate 12 Philip Orenstein, Big Cheese Part 1, 1991 (center); Big Cheese, Bow (USA) (left) and Big Cheese, Stern (Europe) (right), 1999–2001 Collaborating printers: Lynne Allen (center panel), Randy Hemminghaus (left and right panels) Edition printers: Eileen M. Foti (all panels) Triptych, consisting of a five-color lithograph printed on white Arches, Kitakata, and Hosho paper with cut out decals adhered (center panel), and two six-color lithographs on Rives BFK White with collage elements (left and right panels), each 28.1 × 40.2 in. (71.2 × 102 cm)

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Plate 12 Philip Orenstein, Big Cheese Part 1, 1991 (center); Big Cheese, Bow (USA) (left) and Big Cheese, Stern (Europe) (right), 1999–2001 Collaborating printers: Lynne Allen (center panel), Randy Hemminghaus (left and right panels) Edition printers: Eileen M. Foti (all panels) Triptych, consisting of a five-color lithograph printed on white Arches, Kitakata, and Hosho paper with cut out decals adhered (center panel), and two six-color lithographs on Rives BFK White with collage elements (left and right panels), each 28.1 × 40.2 in. (71.2 × 102 cm)

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Plate 13 Faith Ringgold, The Sunflower Quilting Bee at Arles, 1996 Collaborating printers: Eileen M. Foti and Lynne Allen Color lithograph, 22.6 × 30.1 in. (57.3 × 76.4 cm)

Plate 14 Gloria Rodríguez Calero, Ex-Voto, 2000 Collaborating printer: Eileen M. Foti Lithograph with chine collé, gold leaf, Iris print, and embossing on Rives BFK white and Kinwashi papers, 30 × 22 in. (76.2 × 55.9 cm)

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Plate 13 Faith Ringgold, The Sunflower Quilting Bee at Arles, 1996 Collaborating printers: Eileen M. Foti and Lynne Allen Color lithograph, 22.6 × 30.1 in. (57.3 × 76.4 cm)

Plate 14 Gloria Rodríguez Calero, Ex-Voto, 2000 Collaborating printer: Eileen M. Foti Lithograph with chine collé, gold leaf, Iris print, and embossing on Rives BFK white and Kinwashi papers, 30 × 22 in. (76.2 × 55.9 cm)

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Plate 15 Fred Wilson, Untitled (High Museum of Art, left; Carnegie Museum of Art, right), 2009 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Diptych, photogravures on Somerset white paper, each 25 × 30 in. (63.5 × 76.2 cm)

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Plate 15 Fred Wilson, Untitled (High Museum of Art, left; Carnegie Museum of Art, right), 2009 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Diptych, photogravures on Somerset white paper, each 25 × 30 in. (63.5 × 76.2 cm)

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81 Documenting Place: Real and Imagined

Alexandre Arrechea Zeina Barakeh Diane Burko Dahlia Elsayed Melissa Gould James Lavadour Deborah Luster Sarah McEneaney Amalia Mesa-Bains Dot Paolo Duke Riley

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81 Documenting Place: Real and Imagined

Alexandre Arrechea Zeina Barakeh Diane Burko Dahlia Elsayed Melissa Gould James Lavadour Deborah Luster Sarah McEneaney Amalia Mesa-Bains Dot Paolo Duke Riley

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Plate 16 Alexandre Arrechea, Mississippi Bucket, 2009 Collaborating printer: Randy Hemminghaus Edition printers: John C. Erickson and Kristyna Comer Six-color lithograph and woodcut on Hahnemühle Copperplate paper 32 × 46 in. (81.3 × 116.8 cm)

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Plate 17 Zeina Barakeh,Trojan Accords, 2014–2015 Collaborating printer: Randy Hemminghaus Digital print in archival pigment ink on Sunset Cotton Etching digital paper 35.5 × 58 in. (90.2 × 147.3 cm)

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Plate 16 Alexandre Arrechea, Mississippi Bucket, 2009 Collaborating printer: Randy Hemminghaus Edition printers: John C. Erickson and Kristyna Comer Six-color lithograph and woodcut on Hahnemühle Copperplate paper 32 × 46 in. (81.3 × 116.8 cm)

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Plate 17 Zeina Barakeh,Trojan Accords, 2014–2015 Collaborating printer: Randy Hemminghaus Digital print in archival pigment ink on Sunset Cotton Etching digital paper 35.5 × 58 in. (90.2 × 147.3 cm)

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Plate 18 James Lavadour, Untitled, 1990 Collaborating printer: Eileen M. Foti Color lithograph, 19.1 × 33.1 in. (48.6 × 84.2 cm)

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Plate 18 James Lavadour, Untitled, 1990 Collaborating printer: Eileen M. Foti Color lithograph, 19.1 × 33.1 in. (48.6 × 84.2 cm)

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Detail, Melissa Gould, Neu-York

Plate 19 Melissa Gould, Neu-York, 2000 Collaborating printer: Jonathan Higgins Collaborating digital consultant: Kathryn Lyness Four-color lithograph on Rives BFK gray paper, 43 × 27 in. (109.2 × 68.6 cm)

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Detail, Melissa Gould, Neu-York

Plate 19 Melissa Gould, Neu-York, 2000 Collaborating printer: Jonathan Higgins Collaborating digital consultant: Kathryn Lyness Four-color lithograph on Rives BFK gray paper, 43 × 27 in. (109.2 × 68.6 cm)

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Plate 20 Dahlia Elsayed, The Tenth Month, 2005 Collaborating papermakers: Anne McKeown and Nkosinathi Ndlanda Bleached abaca and cotton, pigmented ultramarine blue with pulp paint and a photo silk screen stencil, 22.8 × 28 in. (58 × 71 cm)

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Plate 20 Dahlia Elsayed, The Tenth Month, 2005 Collaborating papermakers: Anne McKeown and Nkosinathi Ndlanda Bleached abaca and cotton, pigmented ultramarine blue with pulp paint and a photo silk screen stencil, 22.8 × 28 in. (58 × 71 cm)

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Plate 21 Diane Burko, Delaware River 1987, 1987 Collaborating printer: John Hutcheson Edition printer: Greg Carter Woodcut, 19.75 × 25.5 in. (50.2 × 64.8 cm)

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Plate 21 Diane Burko, Delaware River 1987, 1987 Collaborating printer: John Hutcheson Edition printer: Greg Carter Woodcut, 19.75 × 25.5 in. (50.2 × 64.8 cm)

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Plate 22 Dot Paolo, Claes Pin Chair, 1999 Collaborating printer: Eileen M. Foti Edition printers: Eileen M. Foti and Randy Hemminghaus Photolithographs on cream Rives and Mohawk Superfine paper, 24.1 × 44.5 in. (61.2 × 113 cm)

Plate 23 Sarah McEneaney, Paint Print, 2002 Collaborating printer: Eileen M. Foti Lithograph with hand coloring on Rives cream paper, 15 × 11 in. (38.1 × 27.9 cm)

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Plate 22 Dot Paolo, Claes Pin Chair, 1999 Collaborating printer: Eileen M. Foti Edition printers: Eileen M. Foti and Randy Hemminghaus Photolithographs on cream Rives and Mohawk Superfine paper, 24.1 × 44.5 in. (61.2 × 113 cm)

Plate 23 Sarah McEneaney, Paint Print, 2002 Collaborating printer: Eileen M. Foti Lithograph with hand coloring on Rives cream paper, 15 × 11 in. (38.1 × 27.9 cm)

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Plate 24 Amalia Mesa-Bains, Private Landscape/Public Territories, 1997 Collaborating printers: Eileen M. Foti and Randy Hemminghaus Diptych, two lithographs with photographs and chine collé, each 10.5 × 29.5 in. (26.7 × 74.9 cm)

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Plate 24 Amalia Mesa-Bains, Private Landscape/Public Territories, 1997 Collaborating printers: Eileen M. Foti and Randy Hemminghaus Diptych, two lithographs with photographs and chine collé, each 10.5 × 29.5 in. (26.7 × 74.9 cm)

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Plate 25 Duke Riley, Morituri Te Salutant (Those Who Are About to Die Salute You), 2009 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Edition printer: Kristyna Comer Laser-cut engraving and drypoint on handmade phragmites and abaca paper, 27.75 × 53 in. (70.5 × 134.6 cm)

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Plate 25 Duke Riley, Morituri Te Salutant (Those Who Are About to Die Salute You), 2009 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Edition printer: Kristyna Comer Laser-cut engraving and drypoint on handmade phragmites and abaca paper, 27.75 × 53 in. (70.5 × 134.6 cm)

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99 Escaping the Unitary Linear

Corwin Clairmont Roberta Harley Don Kennell Byron Kim Anne Q. McKeown Kevin O’Neill and Karisa Senavitis Miriam Schapiro Melanie Yazzie

Plate 26 Deborah Luster, Tooth for an Eye, Ledger 05-15 Location. 1200 block of Touro Street (7th Ward) Date(s). September 12, 1996 Name(s). Artiero Alvear (55) Notes. Hit in head with tire iron. Date(s). November 27, 2003 6:30 a.m. Name(s). Leonard Mitchell (49) Notes. Gunshot to torso. Lying on sidewalk, 2008-2010 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure on Pescia white paper, 22.5 × 30 in. (57.2 × 76.2 cm)

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99 Escaping the Unitary Linear

Corwin Clairmont Roberta Harley Don Kennell Byron Kim Anne Q. McKeown Kevin O’Neill and Karisa Senavitis Miriam Schapiro Melanie Yazzie

Plate 26 Deborah Luster, Tooth for an Eye, Ledger 05-15 Location. 1200 block of Touro Street (7th Ward) Date(s). September 12, 1996 Name(s). Artiero Alvear (55) Notes. Hit in head with tire iron. Date(s). November 27, 2003 6:30 a.m. Name(s). Leonard Mitchell (49) Notes. Gunshot to torso. Lying on sidewalk, 2008-2010 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure on Pescia white paper, 22.5 × 30 in. (57.2 × 76.2 cm)

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Plate 27 Corwin Clairmont, Split Shield, 2001 Collaborating printer and papermaker: Gail Deery Lithograph on handmade cotton paper with collage and seventeen cast parts in black denim cotton fiber, 83.75 × 50.75 × 3.25 in. (212.7 × 128.9 × 8.3 cm)

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Plate 28 Roberta Harley, Her Best Dress, 1997 Collaborating papermaker: Gail Deery Relief and collage on handmade linen and Japanese lace paper, 20.5 × 32 in. (52 × 81.3 cm)

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Plate 27 Corwin Clairmont, Split Shield, 2001 Collaborating printer and papermaker: Gail Deery Lithograph on handmade cotton paper with collage and seventeen cast parts in black denim cotton fiber, 83.75 × 50.75 × 3.25 in. (212.7 × 128.9 × 8.3 cm)

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Plate 28 Roberta Harley, Her Best Dress, 1997 Collaborating papermaker: Gail Deery Relief and collage on handmade linen and Japanese lace paper, 20.5 × 32 in. (52 × 81.3 cm)

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Plate 29 Don Kennell, Bird in Hand, 1998 Collaborating papermaker: Gail Deery Cotton lint pulp, pigment, silk tissue, and lithograph with hand coloring on HMP Cast and Arches 88 paper, 36.75 × 18.8 × 6.6 in. (93.3 × 47.8 × 16.7 cm)

Plate 30 Byron Kim, Sky Blue Kite, 2001 Collaborating papermakers: Gail Deery and Mina Takahashi (Dieu Donné) Construction of kites: Haesun Lee Handmade 100 percent Korean kozo fiber, HMP, and wood, 29 × 32 in. (76.7 × 81.3 cm)

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Plate 29 Don Kennell, Bird in Hand, 1998 Collaborating papermaker: Gail Deery Cotton lint pulp, pigment, silk tissue, and lithograph with hand coloring on HMP Cast and Arches 88 paper, 36.75 × 18.8 × 6.6 in. (93.3 × 47.8 × 16.7 cm)

Plate 30 Byron Kim, Sky Blue Kite, 2001 Collaborating papermakers: Gail Deery and Mina Takahashi (Dieu Donné) Construction of kites: Haesun Lee Handmade 100 percent Korean kozo fiber, HMP, and wood, 29 × 32 in. (76.7 × 81.3 cm)

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Plate 31 Anne Q. McKeown, Hummingbird Conversation, 2011 Papermaker: The artist Handmade abaca paper with feathers, 3.5 × 5 × 1 in. (8.9 × 12.7 × 2.5 cm) Plate 32 Kevin O’Neill and Karisa Senavitis, Ramones Commemorative Plates, 2008 Collaborating papermaker: Lisa Switalski Pulp made from recycled Ramones album cover double couched into unbleached abaca and formed onto four imitation throw-away paper plates, each 11 in. (27.5 cm) diameter. Included with the plates are two objects, a Ramones vinyl record and commemorative sticker.

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Plate 31 Anne Q. McKeown, Hummingbird Conversation, 2011 Papermaker: The artist Handmade abaca paper with feathers, 3.5 × 5 × 1 in. (8.9 × 12.7 × 2.5 cm) Plate 32 Kevin O’Neill and Karisa Senavitis, Ramones Commemorative Plates, 2008 Collaborating papermaker: Lisa Switalski Pulp made from recycled Ramones album cover double couched into unbleached abaca and formed onto four imitation throw-away paper plates, each 11 in. (27.5 cm) diameter. Included with the plates are two objects, a Ramones vinyl record and commemorative sticker.

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Plate 33 Melanie Yazzie, Metamorphosis, 2000 Collaborating printer and papermaker: Gail Deery Lithograph on pulp painting in overbeaten abaca fiber and linen paper, 26.6 × 20.1 in. (67.8 × 51.1 cm)

Plate 34 Melanie Yazzie, Metamorphosis, 2000 Collaborating printer and papermaker: Gail Deery Lithograph on pulp painting in overbeaten abaca fiber and linen paper, 26.6 × 20.1 in. (67.8 × 51.1 cm)

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Plate 33 Melanie Yazzie, Metamorphosis, 2000 Collaborating printer and papermaker: Gail Deery Lithograph on pulp painting in overbeaten abaca fiber and linen paper, 26.6 × 20.1 in. (67.8 × 51.1 cm)

Plate 34 Melanie Yazzie, Metamorphosis, 2000 Collaborating printer and papermaker: Gail Deery Lithograph on pulp painting in overbeaten abaca fiber and linen paper, 26.6 × 20.1 in. (67.8 × 51.1 cm)

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Plate 35 Miriam Schapiro, In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 1993 Collaborating printer: Eileen M. Foti Color lithograph mounted on gray paper, 13.4 × 27.2 in. (34.2 × 69 cm)

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Plate 35 Miriam Schapiro, In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 1993 Collaborating printer: Eileen M. Foti Color lithograph mounted on gray paper, 13.4 × 27.2 in. (34.2 × 69 cm)

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111 Icons and Symbols

Pacita Abad George Longfish Michiko Rupnow Juan Sánchez Ela Shah

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111 Icons and Symbols

Pacita Abad George Longfish Michiko Rupnow Juan Sánchez Ela Shah

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Plate 36 Michiko Rupnow, War Monument I, 1—4, 1999 Collaborating printer: Jonathan Higgins Four lithographs with chine collé, printed on Rives BFK gray paper and silk tissue, then mounted on Arches Cover paper image size 17.5 X 10.5 in., each 28.25 × 20.5 in. (71.8 × 52 cm)

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Plate 36 Michiko Rupnow, War Monument I, 1—4, 1999 Collaborating printer: Jonathan Higgins Four lithographs with chine collé, printed on Rives BFK gray paper and silk tissue, then mounted on Arches Cover paper image size 17.5 X 10.5 in., each 28.25 × 20.5 in. (71.8 × 52 cm)

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Plate 37 Juan Sánchez, Once We Were Warriors, 1999 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph, photolithograph, pulp painting, chine collé, and hand coloring 60 × 34.5 in. (152.4 × 87.6 cm)

Plate 38 Pacita Abad, African Mephisto, 1991 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph with handmade paper, chine collé, and bronze pigment, 45.4 × 30.1 in. (115.2 × 76.5 cm)

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Plate 37 Juan Sánchez, Once We Were Warriors, 1999 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph, photolithograph, pulp painting, chine collé, and hand coloring 60 × 34.5 in. (152.4 × 87.6 cm)

Plate 38 Pacita Abad, African Mephisto, 1991 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph with handmade paper, chine collé, and bronze pigment, 45.4 × 30.1 in. (115.2 × 76.5 cm)

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Plate 39 George Longfish, Modern Times, 1994 Collaborating printer: Eileen M. Foti Triptych, three-panel lithograph on Arches 88 paper, each 41 × 30 in. (104.1 × 76.2 cm)

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Plate 39 George Longfish, Modern Times, 1994 Collaborating printer: Eileen M. Foti Triptych, three-panel lithograph on Arches 88 paper, each 41 × 30 in. (104.1 × 76.2 cm)

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119 Innovations

Lynne Allen El Anatsui Lynda Benglis Chakaia Booker Jacqueline Clipsham William Kentridge Pepón Osorio Joan Snyder

Plate 40 Ela Shah, Cradle of Faith, 1995 Collaborating papermaker: Gail Deery Pulp painting with chine collé and collage, 58.7 × 15.2 in. (149 × 38.5 cm)

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119 Innovations

Lynne Allen El Anatsui Lynda Benglis Chakaia Booker Jacqueline Clipsham William Kentridge Pepón Osorio Joan Snyder

Plate 40 Ela Shah, Cradle of Faith, 1995 Collaborating papermaker: Gail Deery Pulp painting with chine collé and collage, 58.7 × 15.2 in. (149 × 38.5 cm)

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Plate 41 El Anatsui, Untitled 1 from Learned Papers series, 2012 Collaborating papermaker: Anne McKeown Assistant papermaker: Donna R. Brown Watermarked handmade overbeaten flax on handmade bleached kozo papers, 34 × 40 × 3 in. (86.7 × 101.6 × 7.6 cm)

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Plate 42 Chakaia Booker, Impending Encounter, 2008 Collaborating papermakers: Anne McKeown and Lisa Switalski Handmade paper with wire and yarn armature, brown-black pigmented unbleached abaca, double couched with overbeaten gray pigment, 36 × 12 in. (91.4 × 30.5 cm)

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Plate 41 El Anatsui, Untitled 1 from Learned Papers series, 2012 Collaborating papermaker: Anne McKeown Assistant papermaker: Donna R. Brown Watermarked handmade overbeaten flax on handmade bleached kozo papers, 34 × 40 × 3 in. (86.7 × 101.6 × 7.6 cm)

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Plate 42 Chakaia Booker, Impending Encounter, 2008 Collaborating papermakers: Anne McKeown and Lisa Switalski Handmade paper with wire and yarn armature, brown-black pigmented unbleached abaca, double couched with overbeaten gray pigment, 36 × 12 in. (91.4 × 30.5 cm)

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Plate 43 Lynne Allen, Black Moccasins, 2006 Collaborating printer: The artist Etching on paper with hand coloring, varnish, and linen thread 2.75 × 8.25 × 3.2 in. (7 × 21 × 8.1 cm) Plate 44 Lynda Benglis, Napeague Pond from the Bull Path series, 2013 Collaborating papermaker: Anne McKeown Overbeaten abaca formed over chicken wire, painted with coal tempera, pigmented acrylic medium, and watercolor, with surface application of gold leaf 21 × 11 × 12 in. (53.3 × 27.9 × 30.5 cm)

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Plate 43 Lynne Allen, Black Moccasins, 2006 Collaborating printer: The artist Etching on paper with hand coloring, varnish, and linen thread 2.75 × 8.25 × 3.2 in. (7 × 21 × 8.1 cm) Plate 44 Lynda Benglis, Napeague Pond from the Bull Path series, 2013 Collaborating papermaker: Anne McKeown Overbeaten abaca formed over chicken wire, painted with coal tempera, pigmented acrylic medium, and watercolor, with surface application of gold leaf 21 × 11 × 12 in. (53.3 × 27.9 × 30.5 cm)

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Plate 45 Jacqueline Clipsham, Intervals and Rhythms of the Landscape, 2000 Collaborating printer: Eileen M. Foti Digitally printed book of jazz drawings, poetry, and essays, hand-bound, with compact disc, 16.13 × 16.13 in. (41 × 41 cm)

Plate 46 Pepón Osorio, Canción de cuna para una madre (Lullaby for Mother), 1997 Collaborating printer: Eileen M. Foti Video installation with screen-printed carpet, 66 × 108 in. (167.6 × 274.3 cm)

Interior: Jacqueline Clipsham, Intervals and Rhythms of the Landscape

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Plate 45 Jacqueline Clipsham, Intervals and Rhythms of the Landscape, 2000 Collaborating printer: Eileen M. Foti Digitally printed book of jazz drawings, poetry, and essays, hand-bound, with compact disc, 16.13 × 16.13 in. (41 × 41 cm)

Plate 46 Pepón Osorio, Canción de cuna para una madre (Lullaby for Mother), 1997 Collaborating printer: Eileen M. Foti Video installation with screen-printed carpet, 66 × 108 in. (167.6 × 274.3 cm)

Interior: Jacqueline Clipsham, Intervals and Rhythms of the Landscape

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127 Plate 47 William Kentridge, Stereoscopic Suite, 2007-2008 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Photogravures, 12 sheets (six double images), each 8.7 × 17.7 in. (22.1 × 45 cm)

Melancholia

A Cat in the Meat Trade

Etant Donné

Larder

Memento Mori

Still Life

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127 Plate 47 William Kentridge, Stereoscopic Suite, 2007-2008 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Photogravures, 12 sheets (six double images), each 8.7 × 17.7 in. (22.1 × 45 cm)

Melancholia

A Cat in the Meat Trade

Etant Donné

Larder

Memento Mori

Still Life

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129 Looking at the Portrait

María Magdalena Campos-Pons Gail Deery David Driskell Eduardo Fausti Barkley L. Hendricks Deborah Kass Yong Soon Min Irina Nakhova Lázaro Saavedra González Plate 48 Joan Snyder, white field/pink & orange, 2010 Collaborating papermaker: Anne McKeown Pulp paper painting with the inclusion of fabric on cotton base sheet, 27 × 35.5 in. (68.9 × 90.2 cm)

Kiki Smith Mickalene Thomas

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129 Looking at the Portrait

María Magdalena Campos-Pons Gail Deery David Driskell Eduardo Fausti Barkley L. Hendricks Deborah Kass Yong Soon Min Irina Nakhova Lázaro Saavedra González Plate 48 Joan Snyder, white field/pink & orange, 2010 Collaborating papermaker: Anne McKeown Pulp paper painting with the inclusion of fabric on cotton base sheet, 27 × 35.5 in. (68.9 × 90.2 cm)

Kiki Smith Mickalene Thomas

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131

Detail: Gail Deery, Fata Morgana and Blood Cameo

Plate 49 Gail Deery, Fata Morgana and Blood Cameo, 2010 Papermaker: The artist Diptych, photopolymer intaglio, each 25 × 32 in. (63.5 × 81.3 cm)

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Detail: Gail Deery, Fata Morgana and Blood Cameo

Plate 49 Gail Deery, Fata Morgana and Blood Cameo, 2010 Papermaker: The artist Diptych, photopolymer intaglio, each 25 × 32 in. (63.5 × 81.3 cm)

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Plate 51 Eduardo Fausti, Homage to William Carlos Williams, 1997 Printer: The artist Woodcut, 26.5 × 19.5 in. (67.3 × 49.5 cm) Plate 50 David Driskell, The Young Herbalist, 2000 Collaborating printer: Randy Hemminghaus Four-color lithograph on Somerset Velvet white paper, 30 × 22 in. (76.2 × 55.9 cm)

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Plate 51 Eduardo Fausti, Homage to William Carlos Williams, 1997 Printer: The artist Woodcut, 26.5 × 19.5 in. (67.3 × 49.5 cm) Plate 50 David Driskell, The Young Herbalist, 2000 Collaborating printer: Randy Hemminghaus Four-color lithograph on Somerset Velvet white paper, 30 × 22 in. (76.2 × 55.9 cm)

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Plate 52 Deborah Kass, Chairman Ma, 1994 Collaborating printer: Anya Szykitka Triptych, color lithographs, each 24 × 22.1 in. (60.9 × 56.2 cm)

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Plate 52 Deborah Kass, Chairman Ma, 1994 Collaborating printer: Anya Szykitka Triptych, color lithographs, each 24 × 22.1 in. (60.9 × 56.2 cm)

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Plate 53 María Magdalena Campos-Pons, Untitled (The Right Protection), 2000 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph with pulp painting, 20 × 17.5 in. (50.8 × 44.5 cm)

Plate 54 Barkley L. Hendricks, Iconic Dexter, 2009 Collaborating printer: Kathryn Lyness Edition printer: Randy Hemminghaus Silk screen printer: Axelle Fine Art Archival pigment inkjet print overprinted with metallic gold UV-cured silk screen ink on Sunset Cotton Etching paper, 60 × 42 in. (152.4 × 106.7 cm)

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Plate 53 María Magdalena Campos-Pons, Untitled (The Right Protection), 2000 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph with pulp painting, 20 × 17.5 in. (50.8 × 44.5 cm)

Plate 54 Barkley L. Hendricks, Iconic Dexter, 2009 Collaborating printer: Kathryn Lyness Edition printer: Randy Hemminghaus Silk screen printer: Axelle Fine Art Archival pigment inkjet print overprinted with metallic gold UV-cured silk screen ink on Sunset Cotton Etching paper, 60 × 42 in. (152.4 × 106.7 cm)

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Plate 55 Irina Nakhova, Untitled, 1994 Collaborating printer: Eileen M. Foti Photolithograph on transparent paper, 24.8 × 23.6 in. (63 × 60 cm)

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Plate 56 Yong Soon Min, Talking Herstory, 1990 Collaborating printer: Eileen M. Foti Photolithograph with chine collé on Rives and Kitakata paper, 30.1 × 22.1 in. (76.4 × 56.2 cm)

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Plate 55 Irina Nakhova, Untitled, 1994 Collaborating printer: Eileen M. Foti Photolithograph on transparent paper, 24.8 × 23.6 in. (63 × 60 cm)

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Plate 56 Yong Soon Min, Talking Herstory, 1990 Collaborating printer: Eileen M. Foti Photolithograph with chine collé on Rives and Kitakata paper, 30.1 × 22.1 in. (76.4 × 56.2 cm)

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Plate 57 Kiki Smith, Fall; Winter, 2000 Collaborating printer: Jonathan Higgins Collaborating papermaker: Gail Deery Edition printers: Jonathan Higgins, Randy Hemminghaus, Eileen M. Foti, and Gail Deery Diptych, aquatints with photogravure, etching, and drypoint, each 9 × 9 in. (22.8 × 22.8 cm)

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Plate 57 Kiki Smith, Fall; Winter, 2000 Collaborating printer: Jonathan Higgins Collaborating papermaker: Gail Deery Edition printers: Jonathan Higgins, Randy Hemminghaus, Eileen M. Foti, and Gail Deery Diptych, aquatints with photogravure, etching, and drypoint, each 9 × 9 in. (22.8 × 22.8 cm)

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143

Detail with eye flap open: Lázaro Saavedra González, Karl Marx

Plate 58 Lázaro Saavedra González, Karl Marx, 2000 Collaborating printer: Randy Hemminghaus Silk screen with tearing and chine collé addition on Arches 88 paper 29 x 22 in. (73.6 x 55.9 cm)

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Detail with eye flap open: Lázaro Saavedra González, Karl Marx

Plate 58 Lázaro Saavedra González, Karl Marx, 2000 Collaborating printer: Randy Hemminghaus Silk screen with tearing and chine collé addition on Arches 88 paper 29 x 22 in. (73.6 x 55.9 cm)

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145 The Sages

Will Barnet Bette Blank Frank Bowling Elizabeth Catlett Nell Painter May Stevens Richard Tuttle and John Yau June Wayne

Plate 59 Mickalene Thomas, Portrait of Marie Sitting in Black and White, 2012 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure with chine collé on Hahnemühle Copperplate warm white paper and Japanese decorative paper, 27 × 22.5 in. (68.9 × 57.2 cm)

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145 The Sages

Will Barnet Bette Blank Frank Bowling Elizabeth Catlett Nell Painter May Stevens Richard Tuttle and John Yau June Wayne

Plate 59 Mickalene Thomas, Portrait of Marie Sitting in Black and White, 2012 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure with chine collé on Hahnemühle Copperplate warm white paper and Japanese decorative paper, 27 × 22.5 in. (68.9 × 57.2 cm)

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147

Plate 60 Bette Blank, Pink Cadillac, 2010 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus, Kristyna Comer and Kristin Cavagnet Three-color lithograph and five-color silk screen on Somerset white paper 20 × 35 in. (51 × 89 cm)

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147

Plate 60 Bette Blank, Pink Cadillac, 2010 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus, Kristyna Comer and Kristin Cavagnet Three-color lithograph and five-color silk screen on Somerset white paper 20 × 35 in. (51 × 89 cm)

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Plate 61 Will Barnet, Bob, 2005 Collaborating printer: Randy Hemminghaus Edition printers: Paul Loughney and Christopher Armijo Polymer intaglio, 9.9 × 4.9 in. (25.1 × 12.4 cm)

Plate 62 Frank Bowling, Mother Approaching Sixty, 2003 Collaborating printer: Randy Hemminghaus at Galamander Press Edition printers: Christopher Clarke and Robbie Guertin Four-color photoetching with soft ground and spitbite aquatint 34.75 × 30.5 in. (88.3 × 77.5 cm)

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Plate 61 Will Barnet, Bob, 2005 Collaborating printer: Randy Hemminghaus Edition printers: Paul Loughney and Christopher Armijo Polymer intaglio, 9.9 × 4.9 in. (25.1 × 12.4 cm)

Plate 62 Frank Bowling, Mother Approaching Sixty, 2003 Collaborating printer: Randy Hemminghaus at Galamander Press Edition printers: Christopher Clarke and Robbie Guertin Four-color photoetching with soft ground and spitbite aquatint 34.75 × 30.5 in. (88.3 × 77.5 cm)

150

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Plate 63 Elizabeth Catlett, Gossip, 2005 Collaborating printers: Randy Hemminghaus and Anne McKeown Edition printer: Randy Hemminghaus Color digital print with photolithograph on Somerset white paper 15.5 × 18.1 in. (39.3 × 45.8 cm)

Plate 64 Nell Painter, Wise Woman Disappears, 2017 Collaborating printer: Randy Hemminghaus Woodcut and polymer relief diptych painted with two sides of blue ink and black ink on Sekishu white paper, 23.9 × 35.9 in. (60.7 × 91.2 cm)

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Plate 63 Elizabeth Catlett, Gossip, 2005 Collaborating printers: Randy Hemminghaus and Anne McKeown Edition printer: Randy Hemminghaus Color digital print with photolithograph on Somerset white paper 15.5 × 18.1 in. (39.3 × 45.8 cm)

Plate 64 Nell Painter, Wise Woman Disappears, 2017 Collaborating printer: Randy Hemminghaus Woodcut and polymer relief diptych painted with two sides of blue ink and black ink on Sekishu white paper, 23.9 × 35.9 in. (60.7 × 91.2 cm)

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Plate 65 May Stevens, The Remains of the Day, 1993 Collaborating printer: Eileen M. Foti Color digital print with hand lithography and gold dusting on Somerset Enhanced Velvet paper, 22.5 x 30 in. (57.2 x 76.4 cm)

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Plate 65 May Stevens, The Remains of the Day, 1993 Collaborating printer: Eileen M. Foti Color digital print with hand lithography and gold dusting on Somerset Enhanced Velvet paper, 22.5 x 30 in. (57.2 x 76.4 cm)

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Interior detail: Richard Tuttle and John Yau, The Missing Portrait,

Plate 66 Richard Tuttle and John Yau, The Missing Portrait, 2008 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Silk screen, lithography, intaglio, letterpress, collage, cotton cast paper, overbeaten abaca and mitsumata, 18 × 16.5 × 8 in. (45.7 × 41.9 × 20.3 cm)

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Interior detail: Richard Tuttle and John Yau, The Missing Portrait,

Plate 66 Richard Tuttle and John Yau, The Missing Portrait, 2008 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Silk screen, lithography, intaglio, letterpress, collage, cotton cast paper, overbeaten abaca and mitsumata, 18 × 16.5 × 8 in. (45.7 × 41.9 × 20.3 cm)

156

157 Tribulations and Endings

Eric Avery Rick Bartow Kim Berman Eileen M. Foti Parastou Forouhar Randy Hemminghaus Marilyn Keating

Plate 67 June Wayne, Whoopers, 1998 Collaborating printer: Eileen M. Foti Lithograph on cotton paper, 38.5 × 29.5 in. (97.8 × 75 cm)

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157 Tribulations and Endings

Eric Avery Rick Bartow Kim Berman Eileen M. Foti Parastou Forouhar Randy Hemminghaus Marilyn Keating

Plate 67 June Wayne, Whoopers, 1998 Collaborating printer: Eileen M. Foti Lithograph on cotton paper, 38.5 × 29.5 in. (97.8 × 75 cm)

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Plate 68 Kim Berman, Digging for Truth I and II, 1999 Collaborating printer: Randy Hemminghaus Diptych, monotype with etching, drypoint, spitbite, and scraping, each 35 × 24 in. (89 × 61 cm)

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Plate 68 Kim Berman, Digging for Truth I and II, 1999 Collaborating printer: Randy Hemminghaus Diptych, monotype with etching, drypoint, spitbite, and scraping, each 35 × 24 in. (89 × 61 cm)

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Plate 69 Rick Bartow, Rutgers Raven Bundle, Red, 2005 Collaborating printer: Eileen M. Foti Edition printer: Christopher Armijo Diptych, four-color lithograph with gold leaf on Rives BFK paper 42.75 x 30.25 inches (108.6 × 76.8 cm)

Plate 70 Rick Bartow, Rutgers Raven Bundle, Blue, 2005 Collaborating printer: Eileen M. Foti Edition printer: Christopher Armijo Diptych, four-color lithograph with gold leaf on Rives BFK paper 42.75 x 30.25 inches (108.6 × 76.8 cm)

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Plate 69 Rick Bartow, Rutgers Raven Bundle, Red, 2005 Collaborating printer: Eileen M. Foti Edition printer: Christopher Armijo Diptych, four-color lithograph with gold leaf on Rives BFK paper 42.75 x 30.25 inches (108.6 × 76.8 cm)

Plate 70 Rick Bartow, Rutgers Raven Bundle, Blue, 2005 Collaborating printer: Eileen M. Foti Edition printer: Christopher Armijo Diptych, four-color lithograph with gold leaf on Rives BFK paper 42.75 x 30.25 inches (108.6 × 76.8 cm)

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Plate 72 Randy Hemminghaus, Fabric Destroyed by Inner Lining, c. late 1990s- 2000 Printer: The artist Diptych, etchings and aquatint, each 15 x 11 in. (38.1 x 27.9 cm)

Plate 71 Eileen M. Foti, Relic/Wings, 1999 Printer: The artist Diptych, lithographs with chine collé and sewing, each 17 × 15 in. (43.2 × 38.1 cm)

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Plate 72 Randy Hemminghaus, Fabric Destroyed by Inner Lining, c. late 1990s- 2000 Printer: The artist Diptych, etchings and aquatint, each 15 x 11 in. (38.1 x 27.9 cm)

Plate 71 Eileen M. Foti, Relic/Wings, 1999 Printer: The artist Diptych, lithographs with chine collé and sewing, each 17 × 15 in. (43.2 × 38.1 cm)

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Plate 73 Eric Avery, Paradise Lost, 2011 Collaborating printer: Anne McKeown Assistant printer: Steve A. Orlando Linoleum cut relief print and lithograph on Okawara paper 38 × 37.5 in. (96.5 × 95.25 cm)

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Plate 74 Parastou Forouhar, Water Mark, 2015 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Anne McKeown Nine colors of pigmented, overbeaten flax pulp paint on abaca sheets and two-color (blue and black) lithograph, 36.25 × 20.5 in. (92.2 × 52 cm)

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Plate 73 Eric Avery, Paradise Lost, 2011 Collaborating printer: Anne McKeown Assistant printer: Steve A. Orlando Linoleum cut relief print and lithograph on Okawara paper 38 × 37.5 in. (96.5 × 95.25 cm)

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Plate 74 Parastou Forouhar, Water Mark, 2015 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Anne McKeown Nine colors of pigmented, overbeaten flax pulp paint on abaca sheets and two-color (blue and black) lithograph, 36.25 × 20.5 in. (92.2 × 52 cm)

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167

Visualizing the Text

Milcah Bassel Margo Humphrey Buzz Spector Pat Steir and Ann Waldman

Plate 75 Marilyn Keating, Giving Fate the Finger, 1996 Collaborating papermaker: Gail Deery Cast paper and wood construction with linoleum cut, buttons, and thread on handmade cotton, linen, and abaca paper, 46.1 × 29.9 in. (117 × 76 cm)

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167

Visualizing the Text

Milcah Bassel Margo Humphrey Buzz Spector Pat Steir and Ann Waldman

Plate 75 Marilyn Keating, Giving Fate the Finger, 1996 Collaborating papermaker: Gail Deery Cast paper and wood construction with linoleum cut, buttons, and thread on handmade cotton, linen, and abaca paper, 46.1 × 29.9 in. (117 × 76 cm)

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Plate 76 Milcah Bassel, Father Tongue (Genesis I), 2015 Collaborating papermakers: Anne McKeown, Sharon Kim, Andrew Manno, and Josh Thomson Handmade paper and stenciled pulp paint, 26 x 56 inches (66.04 x 142.24 cm)

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Plate 76 Milcah Bassel, Father Tongue (Genesis I), 2015 Collaborating papermakers: Anne McKeown, Sharon Kim, Andrew Manno, and Josh Thomson Handmade paper and stenciled pulp paint, 26 x 56 inches (66.04 x 142.24 cm)

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Plate 77 Pat Steir and Anne Waldman, Cry Stall Gaze, 2012 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristen Cavagnet Binding designed and fabricated by Alexis Myre 12-page accordion book, including cover, with silkscreen, etching, and photogravure folded: 15 x 34 3/8 in. (38.1 x 97.31 cm); unfolded: 15 x 216 in. (38.1 x 548.64 cm); portfolio box 16 ½ X 35 ½ X 1 ½ in. (40.6 x 90.2 x 3.8 cm)

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Plate 77 Pat Steir and Anne Waldman, Cry Stall Gaze, 2012 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristen Cavagnet Binding designed and fabricated by Alexis Myre 12-page accordion book, including cover, with silkscreen, etching, and photogravure folded: 15 x 34 3/8 in. (38.1 x 97.31 cm); unfolded: 15 x 216 in. (38.1 x 548.64 cm); portfolio box 16 ½ X 35 ½ X 1 ½ in. (40.6 x 90.2 x 3.8 cm)

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Plate 79 Buzz Spector, surface texture, 2003 Collaborating papermaker: Anne McKeown Paper collage with red and blue thread, 8.4 × 11.25 in. (21.5 × 28.5 cm)

Plate 78 Margo Humphrey, The History of Her Life Written Across Her Face, 1991 Collaborating printer: Eileen M. Foti Color lithograph with copper leaf and collage, 32.3 × 29.75 in. (82 × 75.5 cm)

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Plate 79 Buzz Spector, surface texture, 2003 Collaborating papermaker: Anne McKeown Paper collage with red and blue thread, 8.4 × 11.25 in. (21.5 × 28.5 cm)

Plate 78 Margo Humphrey, The History of Her Life Written Across Her Face, 1991 Collaborating printer: Eileen M. Foti Color lithograph with copper leaf and collage, 32.3 × 29.75 in. (82 × 75.5 cm)

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175 Pacita Abad, African Mephisto, 1991 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph with handmade paper, chine collé, and bronze pigment, 45.4 × 30.1 in. (115.2 × 76.5 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1992.0511.001 Plate 38

Eric Avery, Paradise Lost, 2011 Collaborating printer: Anne McKeown Assistant printer: Steve A. Orlando Linoleum cut relief print and lithograph on Okawara paper, 38 × 37.5 in. (96.5 × 95.25 cm) Edition: 25 Private collection Plate 73

Lynne Allen, Black Moccasins, 2006 Collaborating printer: The artist Etching on paper with hand coloring, varnish, and linen thread, 2.75 × 8.25 × 3.2 in. (7 × 21 × 8.1 cm) Edition: unique Private collection Plate 43

Nancy Azara, Broken Leaf from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with pochoir and hand lithography on Arches Infinity paper, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.03 Plate 5

Emma Amos, Identity from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.01 Plate 5

Exhibition Checklist

El Anatsui, Untitled 1 from Learned Papers series, 2012 Collaborating papermaker: Anne McKeown Assistant papermaker: Donna R. Brown Watermarked handmade overbeaten flax on handmade bleached kozo paper, 34 × 40 × 3 in. (86.7 × 101.6 × 7.6 cm) Edition: unique Private collection Plate 41 Eleanor Antin, Dance of Death from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer John C. Erickson Color digital print on Hiromi Zangetsu paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.02 Plate 5 Alexandre Arrechea, Mississippi Bucket, 2009 Collaborating printer: Randy Hemminghaus Edition printers: John C. Erickson and Kristyna Comer Six-color lithograph and woodcut on Hahnemühle Copperplate paper, 32 × 46 in. (81.3 × 116.8 cm) Edition: 30 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 16

Zeina Barakeh, Trojan Accords, 2014–2015 Collaborating printer: Randy Hemminghaus Digital print in archival pigment ink on Sunset Cotton Etching digital paper, 35.5 × 58 in. (90.2 × 147.3 cm) Edition: 10 Courtesy of Randy Hemminghaus Plate 17 Will Barnet, Bob, 2005 Collaborating printer: Randy Hemminghaus Edition printers: Paul Loughney and Christopher Armijo Polymer intaglio, 9.9 × 4.9 in. (25.1 × 12.4 cm) Edition: 95 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2015.014.001 Plate 61 Rick Bartow, Rutgers Raven Bundle, Red and Rutgers Raven Bundle, Blue, 2005 Collaborating printer: Eileen M. Foti Edition printer: Christopher Armijo Diptych, four-color lithographs with gold leaf on Rives BFK paper, each 42.75 × 30.25 in. (108.6 × 76.8 cm) Edition: 20 Private collection Plates 69, 70 Milcah Bassel, Father Tongue (Genesis I), 2015 Collaborating papermakers: Anne McKeown Sharon Kim, Andrew Manno, and Josh Thomson Handmade paper and stenciled pulp paint, 26 x 56 inches (66.04 x 142.24 cm) Edition: 10 Courtesy of the artist Plate 76

174

175 Pacita Abad, African Mephisto, 1991 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph with handmade paper, chine collé, and bronze pigment, 45.4 × 30.1 in. (115.2 × 76.5 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1992.0511.001 Plate 38

Eric Avery, Paradise Lost, 2011 Collaborating printer: Anne McKeown Assistant printer: Steve A. Orlando Linoleum cut relief print and lithograph on Okawara paper, 38 × 37.5 in. (96.5 × 95.25 cm) Edition: 25 Private collection Plate 73

Lynne Allen, Black Moccasins, 2006 Collaborating printer: The artist Etching on paper with hand coloring, varnish, and linen thread, 2.75 × 8.25 × 3.2 in. (7 × 21 × 8.1 cm) Edition: unique Private collection Plate 43

Nancy Azara, Broken Leaf from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with pochoir and hand lithography on Arches Infinity paper, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.03 Plate 5

Emma Amos, Identity from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.01 Plate 5

Exhibition Checklist

El Anatsui, Untitled 1 from Learned Papers series, 2012 Collaborating papermaker: Anne McKeown Assistant papermaker: Donna R. Brown Watermarked handmade overbeaten flax on handmade bleached kozo paper, 34 × 40 × 3 in. (86.7 × 101.6 × 7.6 cm) Edition: unique Private collection Plate 41 Eleanor Antin, Dance of Death from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer John C. Erickson Color digital print on Hiromi Zangetsu paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.02 Plate 5 Alexandre Arrechea, Mississippi Bucket, 2009 Collaborating printer: Randy Hemminghaus Edition printers: John C. Erickson and Kristyna Comer Six-color lithograph and woodcut on Hahnemühle Copperplate paper, 32 × 46 in. (81.3 × 116.8 cm) Edition: 30 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 16

Zeina Barakeh, Trojan Accords, 2014–2015 Collaborating printer: Randy Hemminghaus Digital print in archival pigment ink on Sunset Cotton Etching digital paper, 35.5 × 58 in. (90.2 × 147.3 cm) Edition: 10 Courtesy of Randy Hemminghaus Plate 17 Will Barnet, Bob, 2005 Collaborating printer: Randy Hemminghaus Edition printers: Paul Loughney and Christopher Armijo Polymer intaglio, 9.9 × 4.9 in. (25.1 × 12.4 cm) Edition: 95 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2015.014.001 Plate 61 Rick Bartow, Rutgers Raven Bundle, Red and Rutgers Raven Bundle, Blue, 2005 Collaborating printer: Eileen M. Foti Edition printer: Christopher Armijo Diptych, four-color lithographs with gold leaf on Rives BFK paper, each 42.75 × 30.25 in. (108.6 × 76.8 cm) Edition: 20 Private collection Plates 69, 70 Milcah Bassel, Father Tongue (Genesis I), 2015 Collaborating papermakers: Anne McKeown Sharon Kim, Andrew Manno, and Josh Thomson Handmade paper and stenciled pulp paint, 26 x 56 inches (66.04 x 142.24 cm) Edition: 10 Courtesy of the artist Plate 76

176

177 Lynda Benglis, Napeague Pond from the Bull Path series, 2013 Collaborating papermaker: Anne McKeown Overbeaten abaca formed over chicken wire, painted with coal tempera, pigmented acrylic medium, and watercolor, with surface application of gold leaf, 21 × 11 × 12 in. (53.3 × 27.9 × 30.5 cm) Edition: unique (ten in the series) Private collection Plate 44 Kim Berman, Digging for Truth I and II, 1999 Collaborating printer: Randy Hemminghaus Diptych, Monotype with etching, drypoint, spitbite, and scraping, each 35 × 24 in. (89 × 61 cm) Edition: 15 Courtesy of Randy Hemminghaus Plate 68 Willie Birch, Million Man March, 1996 Collaborating papermaker: Gail Deery Handmade paper, pulp painting, collagraph, and collage, 60 × 26 in. (152.4 × 66 cm) Edition: 10 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2007.0412 Plate 1 Bette Blank, Pink Cadillac, 2010 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus, Kristyna Comer, and Kristen Cavagnet Three-color lithograph and five-color silk screen on Somerset white paper, 20 × 35 in. (51 × 89 cm) Edition: 20 Private collection Plate 60 Chakaia Booker, Impending Encounter, 2008 Collaborating papermakers: Anne McKeown and Lisa Switalski Handmade paper with wire and yarn armature, brown-black pigmented unbleached abaca, double couched with overbeaten gray pigment, 36 × 12 in. (91.4 × 30.5 cm) Edition: 20 Change to Courtesy of Betty J. Turock and Gustav W. Friedrich Plate 42 Frank Bowling, Mother Approaching Sixty, 2003 Collaborating printer: Randy Hemminghaus at Galamander Press Edition printers: Christopher Clarke and Robbie Guertin Four-color photoetching with soft ground and spitbite aquatint, 34.75 × 30.5 in. (88.3 × 77.5 cm) Edition: 40 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0036 Plate 62

Diane Burko, Delaware River 1987, 1987 Collaborating printer: John Hutcheson Edition printer: Greg Carter Woodcut, 19.75 × 25.5 in. (50.2 × 64.8 cm) Edition: 30 Courtesy of Richard Ryan and Diane Burko Plate 21 María Magdalena Campos-Pons, Untitled (The Right Protection), 2000 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph with pulp painting, 20 × 17.5 in. (50.8 × 44.5 cm) Edition: 14 Courtesy of Gail Deery Plate 53 Elizabeth Catlett, Gossip, 2005 Collaborating printers: Randy Hemminghaus and Anne McKeown Edition printer: Randy Hemminghaus Color digital print with photolithograph on Somerset white paper, 15.5 × 18.1 in. (39.3 × 45.8 cm) Edition: 200 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2007.0033 Plate 63 Corwin Clairmont, Split Shield, 2001 Collaborating printer and papermaker: Gail Deery Lithograph on handmade cotton paper with collage and seventeen cast parts in black denim cotton fiber, 83.75 × 50.75 × 3.25 in. (212.7 × 128.9 × 8.3 cm) Edition: 7 Courtesy Missoula Art Museum Collection. Purchase and partial gift of Corwin Clairmont, 2007 Plate 27 Jacqueline Clipsham, Intervals and Rhythms of the Landscape, 2000 Collaborating printer: Eileen M. Foti Digitally printed book of jazz drawings, poetry, and essays, hand-bound, with compact disc, 16.13 × 16.13 in. (41 × 41 cm) Edition: 50 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2005.0001.001-003 Plate 45 Willie Cole, Silex Male, Ritual, 2004 Collaborating printer: Josh Azzarella Digital print on Arches Infinity digital paper, 61 x 41 in. (154.9 x 104.1 cm) Edition: 12 Private collection Plate 2

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177 Lynda Benglis, Napeague Pond from the Bull Path series, 2013 Collaborating papermaker: Anne McKeown Overbeaten abaca formed over chicken wire, painted with coal tempera, pigmented acrylic medium, and watercolor, with surface application of gold leaf, 21 × 11 × 12 in. (53.3 × 27.9 × 30.5 cm) Edition: unique (ten in the series) Private collection Plate 44 Kim Berman, Digging for Truth I and II, 1999 Collaborating printer: Randy Hemminghaus Diptych, Monotype with etching, drypoint, spitbite, and scraping, each 35 × 24 in. (89 × 61 cm) Edition: 15 Courtesy of Randy Hemminghaus Plate 68 Willie Birch, Million Man March, 1996 Collaborating papermaker: Gail Deery Handmade paper, pulp painting, collagraph, and collage, 60 × 26 in. (152.4 × 66 cm) Edition: 10 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2007.0412 Plate 1 Bette Blank, Pink Cadillac, 2010 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus, Kristyna Comer, and Kristen Cavagnet Three-color lithograph and five-color silk screen on Somerset white paper, 20 × 35 in. (51 × 89 cm) Edition: 20 Private collection Plate 60 Chakaia Booker, Impending Encounter, 2008 Collaborating papermakers: Anne McKeown and Lisa Switalski Handmade paper with wire and yarn armature, brown-black pigmented unbleached abaca, double couched with overbeaten gray pigment, 36 × 12 in. (91.4 × 30.5 cm) Edition: 20 Change to Courtesy of Betty J. Turock and Gustav W. Friedrich Plate 42 Frank Bowling, Mother Approaching Sixty, 2003 Collaborating printer: Randy Hemminghaus at Galamander Press Edition printers: Christopher Clarke and Robbie Guertin Four-color photoetching with soft ground and spitbite aquatint, 34.75 × 30.5 in. (88.3 × 77.5 cm) Edition: 40 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0036 Plate 62

Diane Burko, Delaware River 1987, 1987 Collaborating printer: John Hutcheson Edition printer: Greg Carter Woodcut, 19.75 × 25.5 in. (50.2 × 64.8 cm) Edition: 30 Courtesy of Richard Ryan and Diane Burko Plate 21 María Magdalena Campos-Pons, Untitled (The Right Protection), 2000 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph with pulp painting, 20 × 17.5 in. (50.8 × 44.5 cm) Edition: 14 Courtesy of Gail Deery Plate 53 Elizabeth Catlett, Gossip, 2005 Collaborating printers: Randy Hemminghaus and Anne McKeown Edition printer: Randy Hemminghaus Color digital print with photolithograph on Somerset white paper, 15.5 × 18.1 in. (39.3 × 45.8 cm) Edition: 200 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2007.0033 Plate 63 Corwin Clairmont, Split Shield, 2001 Collaborating printer and papermaker: Gail Deery Lithograph on handmade cotton paper with collage and seventeen cast parts in black denim cotton fiber, 83.75 × 50.75 × 3.25 in. (212.7 × 128.9 × 8.3 cm) Edition: 7 Courtesy Missoula Art Museum Collection. Purchase and partial gift of Corwin Clairmont, 2007 Plate 27 Jacqueline Clipsham, Intervals and Rhythms of the Landscape, 2000 Collaborating printer: Eileen M. Foti Digitally printed book of jazz drawings, poetry, and essays, hand-bound, with compact disc, 16.13 × 16.13 in. (41 × 41 cm) Edition: 50 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2005.0001.001-003 Plate 45 Willie Cole, Silex Male, Ritual, 2004 Collaborating printer: Josh Azzarella Digital print on Arches Infinity digital paper, 61 x 41 in. (154.9 x 104.1 cm) Edition: 12 Private collection Plate 2

178

179 Betsy Damon, Blue Hole from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography, hand coloring on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.04 Plate 5

Lauren Ewing, For Magritte from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Epson Enhanced Matte paper, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.06 Plate 5

Gail Deery, Fata Morgana and Blood Cameo, 2010 Papermaker: The artist Diptych, photopolymer intaglios, each 25 × 32 in. (63.5 × 81.3 cm) Edition: 20 Courtesy of the artist Plate 49

Eduardo Fausti, Homage to William Carlos Williams, 1997 Printer: The artist Woodcut, 26.5 × 19.5 in. (67.3 × 49.5 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0055 Plate 51

David Driskell, The Young Herbalist, 2000 Collaborating printer: Randy Hemminghaus Four-color lithograph on Somerset Velvet white paper, 30 × 22 in. (76.2 × 55.9 cm) Edition: 60 Private collection Plate 50

Parastou Forouhar, Water Mark, 2015 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Anne McKeown Nine colors of pigmented, overbeaten flax pulp paint on abaca sheets and twocolor (blue and black) lithography, 36.25 × 20.5 in. (92.2 × 52 cm) Edition: 9 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2017.012.001 Plate 74

Mary Beth Edelson, Goddess Head/Soft from Femfolio, 2007 Collaborating printers: John C. Erickson and Sandra Sewing Edition printer: John C. Erickson Digital print, hand lithography on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.05 Plate 5 Melvin Edwards, Curtain for Friends, 2015 Collaborating printer: Randy Hemminghaus Edition printer: Alex Kirillov Three-color lithograph on two sheets, each 28 × 23.6 in. (71.2 × 60 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2017.012.003A-B Plate 6 Dahlia Elsayed, The Tenth Month, 2005 Collaborating papermakers: Anne McKeown and Nkosinathi Ndlanda Bleached abaca and cotton, pigmented ultramarine blue with pulp paint and a photo silk screen stencil, 22.8 × 28 in. (58 × 71 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0053 Plate 20

Eileen M. Foti, Relic/Wings, 1999 Printer: The artist Diptych, lithographs with chine collé and sewing, each 17 × 15 in. (43.2 × 38.1 cm) Edition: 8 and 6 Courtesy of the artist Plate 71 Leon Golub, White Squad, 1987 Collaborating printers: John Hutcheson and Kate Notman at Palisades Press Edition printers: John Hutcheson, Mary Bauer, Eli Dock, and Mary Jane Formica Three-color lithograph, 29.5 × 41.25 in. (74.9 × 107.8 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1987.0152.010 Plate 8 Melissa Gould, Neu-York, 2000 Collaborating printer: Jonathan Higgins Collaborating digital consultant: Kathryn Lyness Four-color lithograph on Rives BFK gray paper, 43 × 27 in. (109.2 × 68.6 cm) Edition: 20 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 19

178

179 Betsy Damon, Blue Hole from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography, hand coloring on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.04 Plate 5

Lauren Ewing, For Magritte from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Epson Enhanced Matte paper, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.06 Plate 5

Gail Deery, Fata Morgana and Blood Cameo, 2010 Papermaker: The artist Diptych, photopolymer intaglios, each 25 × 32 in. (63.5 × 81.3 cm) Edition: 20 Courtesy of the artist Plate 49

Eduardo Fausti, Homage to William Carlos Williams, 1997 Printer: The artist Woodcut, 26.5 × 19.5 in. (67.3 × 49.5 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0055 Plate 51

David Driskell, The Young Herbalist, 2000 Collaborating printer: Randy Hemminghaus Four-color lithograph on Somerset Velvet white paper, 30 × 22 in. (76.2 × 55.9 cm) Edition: 60 Private collection Plate 50

Parastou Forouhar, Water Mark, 2015 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Anne McKeown Nine colors of pigmented, overbeaten flax pulp paint on abaca sheets and twocolor (blue and black) lithography, 36.25 × 20.5 in. (92.2 × 52 cm) Edition: 9 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2017.012.001 Plate 74

Mary Beth Edelson, Goddess Head/Soft from Femfolio, 2007 Collaborating printers: John C. Erickson and Sandra Sewing Edition printer: John C. Erickson Digital print, hand lithography on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.05 Plate 5 Melvin Edwards, Curtain for Friends, 2015 Collaborating printer: Randy Hemminghaus Edition printer: Alex Kirillov Three-color lithograph on two sheets, each 28 × 23.6 in. (71.2 × 60 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2017.012.003A-B Plate 6 Dahlia Elsayed, The Tenth Month, 2005 Collaborating papermakers: Anne McKeown and Nkosinathi Ndlanda Bleached abaca and cotton, pigmented ultramarine blue with pulp paint and a photo silk screen stencil, 22.8 × 28 in. (58 × 71 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0053 Plate 20

Eileen M. Foti, Relic/Wings, 1999 Printer: The artist Diptych, lithographs with chine collé and sewing, each 17 × 15 in. (43.2 × 38.1 cm) Edition: 8 and 6 Courtesy of the artist Plate 71 Leon Golub, White Squad, 1987 Collaborating printers: John Hutcheson and Kate Notman at Palisades Press Edition printers: John Hutcheson, Mary Bauer, Eli Dock, and Mary Jane Formica Three-color lithograph, 29.5 × 41.25 in. (74.9 × 107.8 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1987.0152.010 Plate 8 Melissa Gould, Neu-York, 2000 Collaborating printer: Jonathan Higgins Collaborating digital consultant: Kathryn Lyness Four-color lithograph on Rives BFK gray paper, 43 × 27 in. (109.2 × 68.6 cm) Edition: 20 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 19

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181 Gladys Barker Grauer, I Wish the Rent Was Heaven Sent, 1992 Collaborating printer: Anya Szykitka Four-color lithograph, 22.4 × 30.1 in. (56.9 × 76.4 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1993.0005 Plate 7 Marina Gutierrez, Reaching Mut, 1994 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph, collagraph with hand coloring, embossing, chine collé, and stitching, two sheets, each 41.25 × 29.5 in. (104.775 × 74.9 cm) Edition: 14 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1995.0137.001-002 Plate 3 Harmony Hammond, Double Elegy from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print. hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.07 Plate 5 Trenton Doyle Hancock, Fix, 2008 Collaborating printer: Randy Hemminghaus Edition printer: Randy Hemminghaus Portfolio of 20 prints with etching, lithography, and silk screen on Sekishu colléd onto Somerset Velvet white paper, each 14 × 14 in. (35.6 × 35.6 cm) Edition: 30 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 9 Roberta Harley, Her Best Dress, 1997 Collaborating papermaker: Gail Deery Relief and collage on handmade linen and Japanese lace paper, 20.5 × 32 in. (52 × 81.3 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1997.0408 Plate 28 Randy Hemminghaus, Fabric Destroyed by Inner Lining, c. late 1990s- 2000 Printer: The artist Diptych, etchings and aquatint, each 15 x 11 in. (38.1 x 27.9 cm) Edition: unique Courtesy of the artist Plate 72

Barkley L. Hendricks, Iconic Dexter, 2009 Collaborating printer: Kathryn Lyness Edition printer: Randy Hemminghaus Silk screen printer: Axelle Fine Art Archival pigment inkjet print overprinted with metallic gold UV-cured silk screen ink on Sunset Cotton Etching paper, 60 × 42 in. (152.4 × 106.7 cm) Edition: 20 Private collection Plate 54 Margo Humphrey, The History of Her Life Written Across Her Face, 1991 Collaborating printer: Eileen M. Foti Color lithograph with copper leaf and collage, 32.3 × 29.75 in. (82 × 75.5 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1991.0083 Plate 78 Deborah Kass, Chairman Ma, 1994 Collaborating printer: Anya Szykitka Triptych, color lithographs, each 24 × 22.1 in. (60.9 × 56.2 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1994.0103.001-003 Plate 52 Marilyn Keating, Giving Fate the Finger, 1996 Collaborating papermaker: Gail Deery Cast paper and wood construction with linoleum cut, buttons, and thread on handmade cotton, linen, and abaca paper, 46.1 × 29.9 in. (117 × 76 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1997.0413 Plate 75 Don Kennell, Bird in Hand, 1998 Collaborating papermaker: Gail Deery Cotton lint pulp, pigment, silk tissue, and lithograph with hand coloring on HMP Cast and Arches 88 paper, 36.75 × 18.8 × 6.6 in. (93.3 × 47.8 × 16.7 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1999.2028.001-002 Plate 29 William Kentridge, Cat in the Meat Trade, Étant Donné, Larder, Melancholia, Memento Mori, and Still Life from the Stereoscopic Suite, 2007–2008 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Photogravure, 12 sheets (six double images), each 8.7 × 17.7 in. (22.1 × 45 cm) Edition: 50 Collection Zimmerli Art Museum at Rutgers, gift of Sheila Drill, 2008.032.001.01-06 Plate 47

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181 Gladys Barker Grauer, I Wish the Rent Was Heaven Sent, 1992 Collaborating printer: Anya Szykitka Four-color lithograph, 22.4 × 30.1 in. (56.9 × 76.4 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1993.0005 Plate 7 Marina Gutierrez, Reaching Mut, 1994 Collaborating printer: Eileen M. Foti Collaborating papermaker: Gail Deery Lithograph, collagraph with hand coloring, embossing, chine collé, and stitching, two sheets, each 41.25 × 29.5 in. (104.775 × 74.9 cm) Edition: 14 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1995.0137.001-002 Plate 3 Harmony Hammond, Double Elegy from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print. hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.07 Plate 5 Trenton Doyle Hancock, Fix, 2008 Collaborating printer: Randy Hemminghaus Edition printer: Randy Hemminghaus Portfolio of 20 prints with etching, lithography, and silk screen on Sekishu colléd onto Somerset Velvet white paper, each 14 × 14 in. (35.6 × 35.6 cm) Edition: 30 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 9 Roberta Harley, Her Best Dress, 1997 Collaborating papermaker: Gail Deery Relief and collage on handmade linen and Japanese lace paper, 20.5 × 32 in. (52 × 81.3 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1997.0408 Plate 28 Randy Hemminghaus, Fabric Destroyed by Inner Lining, c. late 1990s- 2000 Printer: The artist Diptych, etchings and aquatint, each 15 x 11 in. (38.1 x 27.9 cm) Edition: unique Courtesy of the artist Plate 72

Barkley L. Hendricks, Iconic Dexter, 2009 Collaborating printer: Kathryn Lyness Edition printer: Randy Hemminghaus Silk screen printer: Axelle Fine Art Archival pigment inkjet print overprinted with metallic gold UV-cured silk screen ink on Sunset Cotton Etching paper, 60 × 42 in. (152.4 × 106.7 cm) Edition: 20 Private collection Plate 54 Margo Humphrey, The History of Her Life Written Across Her Face, 1991 Collaborating printer: Eileen M. Foti Color lithograph with copper leaf and collage, 32.3 × 29.75 in. (82 × 75.5 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1991.0083 Plate 78 Deborah Kass, Chairman Ma, 1994 Collaborating printer: Anya Szykitka Triptych, color lithographs, each 24 × 22.1 in. (60.9 × 56.2 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1994.0103.001-003 Plate 52 Marilyn Keating, Giving Fate the Finger, 1996 Collaborating papermaker: Gail Deery Cast paper and wood construction with linoleum cut, buttons, and thread on handmade cotton, linen, and abaca paper, 46.1 × 29.9 in. (117 × 76 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1997.0413 Plate 75 Don Kennell, Bird in Hand, 1998 Collaborating papermaker: Gail Deery Cotton lint pulp, pigment, silk tissue, and lithograph with hand coloring on HMP Cast and Arches 88 paper, 36.75 × 18.8 × 6.6 in. (93.3 × 47.8 × 16.7 cm) Edition: 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1999.2028.001-002 Plate 29 William Kentridge, Cat in the Meat Trade, Étant Donné, Larder, Melancholia, Memento Mori, and Still Life from the Stereoscopic Suite, 2007–2008 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Photogravure, 12 sheets (six double images), each 8.7 × 17.7 in. (22.1 × 45 cm) Edition: 50 Collection Zimmerli Art Museum at Rutgers, gift of Sheila Drill, 2008.032.001.01-06 Plate 47

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183 Byron Kim, Sky Blue Kite, 2001 Collaborating papermakers: Gail Deery and Mina Takahashi (Dieu Donné) Construction of kites: Haesun Lee Handmade 100 percent Korean kozo fiber, HMP, and wood, 29 × 32 in. (76.7 × 81.3 cm) Edition: 30 Private collection Plate 30 Joyce Kozloff, Maui: Sugar Plantation from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.08 Plate 5 James Lavadour, Untitled, 1990 Collaborating printer: Eileen M. Foti Color lithograph, 19.1 × 33.1 in. (48.6 × 84.2 cm) Edition: 30 Courtesy of Eileen M. Foti Plate 18 Hew Locke, The Prize from Rivington Place Portfolio, 2007 Collaborating printer: Randy Hemminghaus Digital prints with silk screen, cut in 43 pieces and re-collaged into a threedimensional object with collaged elements, 30 × 25 × 5 in. (76.2 × 63.5 × 12.7 cm) Edition: 50 Private collection Plate 10 George Longfish, Modern Times, 1994 Collaborating printer: Eileen M. Foti Triptych, lithographs on Arches 88 paper, each 41 × 30 in. (104.1 × 76.2 cm) Edition: 15 Courtesy of Eileen M. Foti Plate 39 Deborah Luster, Tooth for an Eye, Ledger 05-15 Location. 1200 block of Touro Street (7th Ward) Date(s). September 12, 1996 Name(s). Artiero Alvear (55) Notes. Hit in head with tire iron. Date(s). November 27, 2003 6:30 a.m. Name(s). Leonard Mitchell (49) Notes. Gunshot to torso. Lying on sidewalk, 2008-010 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure on Pescia white paper, 22.5 × 30 in. (57.2 × 76.2 cm) Edition: 20 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 26

Igor Makarevich, Diary, 1998 Collaborating printers: Randy Hemminghaus and Gail Deery Photogravure platemaker: Jonathan Higgins Lithograph, photogravure, and chine collé on Arches Cover buff paper and Kitakata paper, 22 × 30 in. (56 × 76 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0054 Plate 11 Sarah McEneaney, Paint Print, 2002 Collaborating printer: Eileen M. Foti Lithograph with hand coloring on Rives cream paper, 15 × 11 in. (38.1 × 27.9 cm) Edition: 50 Courtesy of Eileen M. Foti Plate 23 Anne Q. McKeown, Hummingbird Conversation, 2011 Papermaker: The artist Handmade abaca paper with feathers, 3.5 × 5 × 1 in. (8.9 × 12.7 × 2.5 cm) Edition: unique Private collection Plate 31 Amalia Mesa-Bains, Private Landscape/Public Territories, 1997 Collaborating printers: Eileen M. Foti and Randy Hemminghaus Diptych, lithographs with photographs and chine collé, each 10.5 × 29.5 in. (26.7 × 74.9 cm) Edition: 20 Collection Zimmerli Art Museum, Jersey City Museum Collection, gift of Jersey City Museum, 2018.032.0406A-B Plate 24 Yong Soon Min, Talking Herstory, 1990 Collaborating printer: Eileen M. Foti Photolithograph with chine collé on Rives and Kitakata paper, 30.1 × 22.1 in. (76.4 × 56.2 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1992.0658 Plate 56 Irina Nakhova, Untitled, 1994 Collaborating printer: Eileen M. Foti Photolithograph on transparent paper, 24.8 × 23.6 in. (63 × 60 cm) Edition: 20 Collection Zimmerli Art Museum, gift of the Brodsky Center, 1994.0110 Plate 55 Diane Neumaier, Toccata from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.09 Plate 5

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183 Byron Kim, Sky Blue Kite, 2001 Collaborating papermakers: Gail Deery and Mina Takahashi (Dieu Donné) Construction of kites: Haesun Lee Handmade 100 percent Korean kozo fiber, HMP, and wood, 29 × 32 in. (76.7 × 81.3 cm) Edition: 30 Private collection Plate 30 Joyce Kozloff, Maui: Sugar Plantation from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.08 Plate 5 James Lavadour, Untitled, 1990 Collaborating printer: Eileen M. Foti Color lithograph, 19.1 × 33.1 in. (48.6 × 84.2 cm) Edition: 30 Courtesy of Eileen M. Foti Plate 18 Hew Locke, The Prize from Rivington Place Portfolio, 2007 Collaborating printer: Randy Hemminghaus Digital prints with silk screen, cut in 43 pieces and re-collaged into a threedimensional object with collaged elements, 30 × 25 × 5 in. (76.2 × 63.5 × 12.7 cm) Edition: 50 Private collection Plate 10 George Longfish, Modern Times, 1994 Collaborating printer: Eileen M. Foti Triptych, lithographs on Arches 88 paper, each 41 × 30 in. (104.1 × 76.2 cm) Edition: 15 Courtesy of Eileen M. Foti Plate 39 Deborah Luster, Tooth for an Eye, Ledger 05-15 Location. 1200 block of Touro Street (7th Ward) Date(s). September 12, 1996 Name(s). Artiero Alvear (55) Notes. Hit in head with tire iron. Date(s). November 27, 2003 6:30 a.m. Name(s). Leonard Mitchell (49) Notes. Gunshot to torso. Lying on sidewalk, 2008-010 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure on Pescia white paper, 22.5 × 30 in. (57.2 × 76.2 cm) Edition: 20 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 26

Igor Makarevich, Diary, 1998 Collaborating printers: Randy Hemminghaus and Gail Deery Photogravure platemaker: Jonathan Higgins Lithograph, photogravure, and chine collé on Arches Cover buff paper and Kitakata paper, 22 × 30 in. (56 × 76 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0054 Plate 11 Sarah McEneaney, Paint Print, 2002 Collaborating printer: Eileen M. Foti Lithograph with hand coloring on Rives cream paper, 15 × 11 in. (38.1 × 27.9 cm) Edition: 50 Courtesy of Eileen M. Foti Plate 23 Anne Q. McKeown, Hummingbird Conversation, 2011 Papermaker: The artist Handmade abaca paper with feathers, 3.5 × 5 × 1 in. (8.9 × 12.7 × 2.5 cm) Edition: unique Private collection Plate 31 Amalia Mesa-Bains, Private Landscape/Public Territories, 1997 Collaborating printers: Eileen M. Foti and Randy Hemminghaus Diptych, lithographs with photographs and chine collé, each 10.5 × 29.5 in. (26.7 × 74.9 cm) Edition: 20 Collection Zimmerli Art Museum, Jersey City Museum Collection, gift of Jersey City Museum, 2018.032.0406A-B Plate 24 Yong Soon Min, Talking Herstory, 1990 Collaborating printer: Eileen M. Foti Photolithograph with chine collé on Rives and Kitakata paper, 30.1 × 22.1 in. (76.4 × 56.2 cm) Edition: 30 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1992.0658 Plate 56 Irina Nakhova, Untitled, 1994 Collaborating printer: Eileen M. Foti Photolithograph on transparent paper, 24.8 × 23.6 in. (63 × 60 cm) Edition: 20 Collection Zimmerli Art Museum, gift of the Brodsky Center, 1994.0110 Plate 55 Diane Neumaier, Toccata from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.09 Plate 5

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185 Kevin O’Neill and Karisa Senavitis, Ramones Commemorative Plates, 2008 Collaborating papermaker: Lisa Switalski Pulp made from recycled Ramones album cover double couched into unbleached abaca and formed onto four imitation throw-away paper plates, each 11 in. (27.5 cm) diameter. Included with the plates are two objects, a Ramones vinyl record and commemorative sticker. Edition: 20 Courtesy of Randy Hemminghaus Plate 32 Philip Orenstein, Big Cheese Part 1, 1991 (center); Big Cheese, Bow (USA) (left) and Big Cheese, Stern (Europe) (right), 1999–2001 Collaborating printers: Lynne Allen (center panel), Randy Hemminghaus (left and right panels) Edition printers: Eileen M. Foti (all panels) Triptych, consisting of a five-color lithograph printed on white Arches, Kitakata, and Hosho paper with cut out decals adhered (center panel), and two six-color lithographs on Rives BFK White with collage elements (left and right panels, each 28.1 × 40.2 in. (71.2 × 102 cm) Edition: 30 (center panel) and 12 each (left and right panels) Collection Zimmerli Art Museum, gift of the Brodsky Center, 1992.0819, 2005.0008, 2005.0009 Plate 12 Pepón Osorio, Canción de cuna para una madre (Lullaby for Mother), 1997 Collaborating printer: Eileen M. Foti Video installation with screen-printed carpet, 66 × 108 in. (167.6 × 274.3 cm) Edition: 9 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2003.0259.01-05 Plate 46 Nell Painter, Wise Woman Disappears, 2017 Collaborating printer: Randy Hemminghaus Woodcut and polymer relief diptych painted with two sides of blue ink and black ink on Sekishu white paper, 23.9 × 35.9 in. (60.7 × 91.2 cm) Edition: 10 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2018.034.001A-B Plate 64 Dot Paolo, Claes Pin Chair, 1999 Collaborating printer: Eileen M. Foti Edition printers: Eileen M. Foti and Randy Hemminghaus Photolithographs on cream Rives and Mohawk Superfine paper, 24.1 × 44.5 in. (61.2 × 113 cm) Edition: 20 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2001.0107 Plate 22 Duke Riley, Morituri Te Salutant (Those Who Are About to Die Salute You), 2009 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Edition printer: Kristyna Comer Laser-cut engraving and drypoint on handmade phragmites and abaca paper, 27.75 × 53 in. (70.5 × 134.6 cm) Edition: 30 Private collection Plate 25

Faith Ringgold, Coming to Jones Road: Under a Blood Red Sky #8 from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print with hand lithography on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.10 Plate 5 Faith Ringgold, The Sunflower Quilting Bee at Arles, 1996 Collaborating printers: Eileen M. Foti and Lynne Allen Color lithograph, 22.6 × 30.1 in. (57.3 × 76.4 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1996.0181 Plate 13 Gloria Rodríguez Calero, Ex-Voto, 2000 Collaborating printer: Eileen M. Foti Lithograph with chine collé, gold leaf, Iris print, and embossing on Rives BFK white and Kinwashi papers, 30 × 22 in. (76.2 × 55.9 cm) Edition: 20 Courtesy of Dot Paolo Plate 14 Michiko Rupnow, War Monument I, 1—4, 1999 Collaborating printer: Jonathan Higgins Four lithographs with chine collé, printed on Rives BFK gray paper and silk tissue, then mounted on Arches Cover paper, each 28.25 × 20.5 in. (71.8 × 52 cm) Edition: 5 Courtesy of the artist Plate 36 Lázaro Saavedra González, Karl Marx, 2000 Collaborating printer: Randy Hemminghaus Silk screen with tearing and chine collé addition on Arches 88 paper, 29 x 22 in. (73.6 x 55.9 cm) Edition: 50 Private collection Plate 58 Juan Sánchez, Once We Were Warriors, 1999 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph, photolithograph, pulp painting, chine collé, and hand coloring, 60 × 34.5 in. (152.4 × 87.6 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2018.034.002 Plate 37

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185 Kevin O’Neill and Karisa Senavitis, Ramones Commemorative Plates, 2008 Collaborating papermaker: Lisa Switalski Pulp made from recycled Ramones album cover double couched into unbleached abaca and formed onto four imitation throw-away paper plates, each 11 in. (27.5 cm) diameter. Included with the plates are two objects, a Ramones vinyl record and commemorative sticker. Edition: 20 Courtesy of Randy Hemminghaus Plate 32 Philip Orenstein, Big Cheese Part 1, 1991 (center); Big Cheese, Bow (USA) (left) and Big Cheese, Stern (Europe) (right), 1999–2001 Collaborating printers: Lynne Allen (center panel), Randy Hemminghaus (left and right panels) Edition printers: Eileen M. Foti (all panels) Triptych, consisting of a five-color lithograph printed on white Arches, Kitakata, and Hosho paper with cut out decals adhered (center panel), and two six-color lithographs on Rives BFK White with collage elements (left and right panels, each 28.1 × 40.2 in. (71.2 × 102 cm) Edition: 30 (center panel) and 12 each (left and right panels) Collection Zimmerli Art Museum, gift of the Brodsky Center, 1992.0819, 2005.0008, 2005.0009 Plate 12 Pepón Osorio, Canción de cuna para una madre (Lullaby for Mother), 1997 Collaborating printer: Eileen M. Foti Video installation with screen-printed carpet, 66 × 108 in. (167.6 × 274.3 cm) Edition: 9 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2003.0259.01-05 Plate 46 Nell Painter, Wise Woman Disappears, 2017 Collaborating printer: Randy Hemminghaus Woodcut and polymer relief diptych painted with two sides of blue ink and black ink on Sekishu white paper, 23.9 × 35.9 in. (60.7 × 91.2 cm) Edition: 10 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2018.034.001A-B Plate 64 Dot Paolo, Claes Pin Chair, 1999 Collaborating printer: Eileen M. Foti Edition printers: Eileen M. Foti and Randy Hemminghaus Photolithographs on cream Rives and Mohawk Superfine paper, 24.1 × 44.5 in. (61.2 × 113 cm) Edition: 20 Collection Zimmerli Art Museum, gift of the Brodsky Center, 2001.0107 Plate 22 Duke Riley, Morituri Te Salutant (Those Who Are About to Die Salute You), 2009 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Edition printer: Kristyna Comer Laser-cut engraving and drypoint on handmade phragmites and abaca paper, 27.75 × 53 in. (70.5 × 134.6 cm) Edition: 30 Private collection Plate 25

Faith Ringgold, Coming to Jones Road: Under a Blood Red Sky #8 from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print with hand lithography on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.10 Plate 5 Faith Ringgold, The Sunflower Quilting Bee at Arles, 1996 Collaborating printers: Eileen M. Foti and Lynne Allen Color lithograph, 22.6 × 30.1 in. (57.3 × 76.4 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1996.0181 Plate 13 Gloria Rodríguez Calero, Ex-Voto, 2000 Collaborating printer: Eileen M. Foti Lithograph with chine collé, gold leaf, Iris print, and embossing on Rives BFK white and Kinwashi papers, 30 × 22 in. (76.2 × 55.9 cm) Edition: 20 Courtesy of Dot Paolo Plate 14 Michiko Rupnow, War Monument I, 1—4, 1999 Collaborating printer: Jonathan Higgins Four lithographs with chine collé, printed on Rives BFK gray paper and silk tissue, then mounted on Arches Cover paper, each 28.25 × 20.5 in. (71.8 × 52 cm) Edition: 5 Courtesy of the artist Plate 36 Lázaro Saavedra González, Karl Marx, 2000 Collaborating printer: Randy Hemminghaus Silk screen with tearing and chine collé addition on Arches 88 paper, 29 x 22 in. (73.6 x 55.9 cm) Edition: 50 Private collection Plate 58 Juan Sánchez, Once We Were Warriors, 1999 Collaborating printer: Randy Hemminghaus Collaborating papermaker: Gail Deery Lithograph, photolithograph, pulp painting, chine collé, and hand coloring, 60 × 34.5 in. (152.4 × 87.6 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2018.034.002 Plate 37

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187 Miriam Schapiro, Court Jester from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print with hand lithography on Arches Infinity paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.11 Plate 5 Miriam Schapiro, In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 1993 Collaborating printer: Eileen M. Foti Color lithograph mounted on gray paper, 13.4 × 27.2 in. (34.2 × 69 cm) Edition: 100 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1994.0107 Plate 35 Carolee Schneemann, Evidence from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print with hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.12 Plate 5 Joan Semmel, Untitled from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.13 Plate 5 Ela Shah, Cradle of Faith, 1995 Collaborating papermaker: Gail Deery Pulp painting with chine collé and collage, 58.7 × 15.2 in. (149 × 38.5 cm) Edition: variant of 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1996.0182 Plate 40 Sylvia Sleigh, Douglas John and Ms. Smith from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Somerset Enhanced Velvet paper 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.14 Plate 5

Jaune Quick-to-See Smith, What Is an American?, 2003 Collaborating printer: Eileen M. Foti Lithograph with chine collé, collage, hand painting, and grommets, 69 × 40.1 in. (175.3 × 101.8 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2003.0256 Plate 4 Kiki Smith, Fall; Winter, 2000 Collaborating printer: Jonathan Higgins Collaborating papermaker: Gail Deery Edition printers: Jonathan Higgins, Randy Hemminghaus, Eileen M. Foti, and Gail Deery Diptych, aquatints with photogravure, etching, and drypoint, each 9 × 9 in. (22.8 × 22.8 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0076.001-002 Plate 57 Joan Snyder, Angry Women from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with hand lithography and hand coloring on Hahnemühle German Etching paper, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.15 Plate 5 Joan Snyder, white field/pink & orange, 2010 Collaborating papermaker: Anne McKeown Pulp paper painting with the inclusion of fabric on cotton base sheet, 27 × 35.5 in. (68.9 × 90.2 cm) Edition: unique Private collection Plate 48 Buzz Spector, surface texture, 2003 Collaborating papermaker: Anne McKeown Paper collage with red and blue thread, 8.4 × 11.25 in. (21.5 × 28.5 cm) Edition: 20 Collection Zimmerli Art Museum, Jersey City Museum Collection, gift of Jersey City Museum, gift of Ofelia Garcia, 2018.032.221 Plate 79 Nancy Spero, Maypole-War from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with hand lithography on Hiromi digital kozo white paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.16 Plate 5

186

187 Miriam Schapiro, Court Jester from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print with hand lithography on Arches Infinity paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.11 Plate 5 Miriam Schapiro, In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 1993 Collaborating printer: Eileen M. Foti Color lithograph mounted on gray paper, 13.4 × 27.2 in. (34.2 × 69 cm) Edition: 100 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1994.0107 Plate 35 Carolee Schneemann, Evidence from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print with hand lithography on Hahnemühle German Etching paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.12 Plate 5 Joan Semmel, Untitled from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print on Somerset Enhanced Velvet paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.13 Plate 5 Ela Shah, Cradle of Faith, 1995 Collaborating papermaker: Gail Deery Pulp painting with chine collé and collage, 58.7 × 15.2 in. (149 × 38.5 cm) Edition: variant of 10 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1996.0182 Plate 40 Sylvia Sleigh, Douglas John and Ms. Smith from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography on Somerset Enhanced Velvet paper 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.14 Plate 5

Jaune Quick-to-See Smith, What Is an American?, 2003 Collaborating printer: Eileen M. Foti Lithograph with chine collé, collage, hand painting, and grommets, 69 × 40.1 in. (175.3 × 101.8 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2003.0256 Plate 4 Kiki Smith, Fall; Winter, 2000 Collaborating printer: Jonathan Higgins Collaborating papermaker: Gail Deery Edition printers: Jonathan Higgins, Randy Hemminghaus, Eileen M. Foti, and Gail Deery Diptych, aquatints with photogravure, etching, and drypoint, each 9 × 9 in. (22.8 × 22.8 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0076.001-002 Plate 57 Joan Snyder, Angry Women from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with hand lithography and hand coloring on Hahnemühle German Etching paper, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.15 Plate 5 Joan Snyder, white field/pink & orange, 2010 Collaborating papermaker: Anne McKeown Pulp paper painting with the inclusion of fabric on cotton base sheet, 27 × 35.5 in. (68.9 × 90.2 cm) Edition: unique Private collection Plate 48 Buzz Spector, surface texture, 2003 Collaborating papermaker: Anne McKeown Paper collage with red and blue thread, 8.4 × 11.25 in. (21.5 × 28.5 cm) Edition: 20 Collection Zimmerli Art Museum, Jersey City Museum Collection, gift of Jersey City Museum, gift of Ofelia Garcia, 2018.032.221 Plate 79 Nancy Spero, Maypole-War from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print with hand lithography on Hiromi digital kozo white paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.16 Plate 5

188

189 Pat Steir and Anne Waldman, Cry Stall Gaze, 2012 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristen Cavagnet Binding designed and fabricated by Alexis Myre 12-page accordion book, including cover, with silkscreen, etching, and photogravure folded: 15 x 34 3/8 in. (38.1 x 97.31 cm); unfolded: 15 x 216 in. (38.1 x 548.64 cm); portfolio box 16 ½ X 35 ½ X 1 ½ in. (40.6 x 90.2 x 3.8 cm) Edition: 11 Collection of Pat Steir, Courtesy of Hauser & Wirth Plate 77 May Stevens, The Band Played On from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography and gold dusting on Rives BFK white paper, 12 x 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.17 Plate 5 May Stevens, The Remains of the Day, 1993 Collaborating printer: Eileen M. Foti Color digital print with hand lithography and gold dusting on Somerset Enhanced Velvet paper, 22.5 x 30 in. (57.2 x 76.4 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1994.0108 Plate 65 Athena Tacha, Knots from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Two-run lithograph on Arches Cover black paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.18 Plate 5 Mickalene Thomas, Portrait of Marie Sitting in Black and White, 2012 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure with chine collé on Hahnemühle Copperplate warm white paper and Japanese decorative paper , 27 × 22.5 in. (68.9 × 57.2 cm) Edition: 20 Courtesy of Randy Hemminghaus Plate 59

Richard Tuttle and John Yau, The Missing Portrait, 2008 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Silk screen, lithography, intaglio, letterpress, collage, cotton cast paper, overbeaten abaca and mitsumata, 18 × 16.5 × 8 in. (45.7 × 41.9 × 20.3 cm) Edition: 10 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 66 June Wayne, Whoopers, 1998 Collaborating printer: Eileen M. Foti Lithograph on cotton paper, 38.5 × 29.5 in. (97.8 × 75 cm) Edition: 40 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0029 Plate 67 June Wayne, Zinc, Mon Amour from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.19 Plate 5 Fred Wilson, Untitled (High Museum of Art and Carnegie Museum of Art), 2009 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Diptych, photogravures on Somerset white paper, each 25 × 30 in. (63.5 × 76.2 cm) Edition: 40 Courtesy of Randy Hemminghaus Plate 15 Martha Wilson, I Make Up the Image of My Perfection/I Make Up the Image of My Deformity from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print, hand lithography on Somerset Enhanced Velvet paper 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.020 Plate 5 Melanie Yazzie, Metamorphosis, 2000 Collaborating printer: Gail Deery Collaborating papermaker: Gail Deery Two lithographs on pulp painting in overbeaten abaca fiber and linen paper Each 25 × 19.5 in. (63.5 × 49.5 cm) Edition: variants of 37 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0024 and Private collection Plates 33 and 34

188

189 Pat Steir and Anne Waldman, Cry Stall Gaze, 2012 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristen Cavagnet Binding designed and fabricated by Alexis Myre 12-page accordion book, including cover, with silkscreen, etching, and photogravure folded: 15 x 34 3/8 in. (38.1 x 97.31 cm); unfolded: 15 x 216 in. (38.1 x 548.64 cm); portfolio box 16 ½ X 35 ½ X 1 ½ in. (40.6 x 90.2 x 3.8 cm) Edition: 11 Collection of Pat Steir, Courtesy of Hauser & Wirth Plate 77 May Stevens, The Band Played On from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, hand lithography and gold dusting on Rives BFK white paper, 12 x 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.17 Plate 5 May Stevens, The Remains of the Day, 1993 Collaborating printer: Eileen M. Foti Color digital print with hand lithography and gold dusting on Somerset Enhanced Velvet paper, 22.5 x 30 in. (57.2 x 76.4 cm) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1994.0108 Plate 65 Athena Tacha, Knots from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Two-run lithograph on Arches Cover black paper, 12 x 12 in. (30.5 x 30.5 cm.) Edition: 20 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.18 Plate 5 Mickalene Thomas, Portrait of Marie Sitting in Black and White, 2012 Collaborating printer: Randy Hemminghaus Edition printer: Kristen Cavagnet Photogravure with chine collé on Hahnemühle Copperplate warm white paper and Japanese decorative paper , 27 × 22.5 in. (68.9 × 57.2 cm) Edition: 20 Courtesy of Randy Hemminghaus Plate 59

Richard Tuttle and John Yau, The Missing Portrait, 2008 Collaborating printer: Randy Hemminghaus Collaborating papermakers: Anne McKeown and Lisa Switalski Silk screen, lithography, intaglio, letterpress, collage, cotton cast paper, overbeaten abaca and mitsumata, 18 × 16.5 × 8 in. (45.7 × 41.9 × 20.3 cm) Edition: 10 Courtesy Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts Plate 66 June Wayne, Whoopers, 1998 Collaborating printer: Eileen M. Foti Lithograph on cotton paper, 38.5 × 29.5 in. (97.8 × 75 cm) Edition: 40 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0029 Plate 67 June Wayne, Zinc, Mon Amour from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Digital print, 12 × 12 in. (30.5 × 30.5 cm) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.19 Plate 5 Fred Wilson, Untitled (High Museum of Art and Carnegie Museum of Art), 2009 Collaborating printer: Randy Hemminghaus Edition printers: Randy Hemminghaus and Kristyna Comer Diptych, photogravures on Somerset white paper, each 25 × 30 in. (63.5 × 76.2 cm) Edition: 40 Courtesy of Randy Hemminghaus Plate 15 Martha Wilson, I Make Up the Image of My Perfection/I Make Up the Image of My Deformity from Femfolio, 2007 Collaborating printers: John C. Erickson and Josh Azzarella Edition printer: John C. Erickson Color digital print, hand lithography on Somerset Enhanced Velvet paper 12 x 12 in. (30.5 x 30.5 cm.) Edition: 60 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2010.006.001.020 Plate 5 Melanie Yazzie, Metamorphosis, 2000 Collaborating printer: Gail Deery Collaborating papermaker: Gail Deery Two lithographs on pulp painting in overbeaten abaca fiber and linen paper Each 25 × 19.5 in. (63.5 × 49.5 cm) Edition: variants of 37 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 2007.0024 and Private collection Plates 33 and 34

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191

Artists’ Biographies

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191

Artists’ Biographies

192 Pacita Abad (American, born in the Philippines, 1946–2004) was the subject of a 2023 retrospective exhibition at the Walker Art Center in Minneapolis. As a young woman she was active in student demonstrations against the Marcos regime. She left Manila to further her law studies in Spain, but instead, she arrived in California, where she met her future husband, with whom she traveled across Asia and the Middle East. It was at that point that she changed course and decided to become an artist. Icons and Symbols, Plate 38

Lynne Allen (American, born 1948) is professor of printmaking and former director of the School of Visual Arts at Boston University, as well as a former master printer and director of the Brodsky Center, and former faculty member in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University. Trained as a Tamarind Master Printer and descended from members of the Standing Rock Sioux Tribe of North and South Dakota, Allen explores Native traditions in her work. Selected collections include the Whitney Museum of American Art, the Museum of Modern Art Library, and the New York Public Library (New York), the Corcoran Gallery of Art and the Library of Congress (Washington, DC), and the Victoria and Albert Museum (London) among others. International exhibitions that exhibited her work include the Guanlan International Print Biennial (China), the Bienal Internacional de Gravura do Douro (Portugal), the Novosibirsk International Biennial of Contemporary Graphic Art (Russia), and the Tallinn Print Triennial (Estonia). Innovations, Plate 43

Emma Amos (American, 1937–2020) made prints alongside her paintings and textile work throughout her career. She was a member of the influential artist-activist groups Spiral, Heresies Collective, and the Guerrilla Girls, which called attention to the underrepresentation of Black and women artists in museums and commercial galleries. Amos was a professor at Rutgers University’s Mason Gross School of the Arts in the Department of Art and Design from 1980 to 2008. She was the subject of a major retrospective exhibition in 2021 at the Philadelphia Museum of Art. Selected collections include the Museum of Modern Art, Whitney Museum of American Art, and Studio Museum in Harlem (New York), and National Gallery of Art (Washington, DC), along with many college and university museums and galleries. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

193 El Anatsui (Ghanaian, active in Nigeria, born 1944) is an internationally renowned artist. He reuses materials that are usually discarded, such as bottle caps and copper wiring, as well as elements from cultures indigenous to Ghana and Nigeria to make the large-scale sculptures that have resulted in his becoming one of the most highly acclaimed artists in African history. His work comments on waste, transformation, consumerism, colonialism, and the environment. In April 2023, he was named to the Time 100 list of the world’s most influential people. His work is in the collections of many museums globally including the Metropolitan Museum of Art and Museum of Modern Art (New York), National Museum of African Art, Smithsonian American Art Museum (Washington DC), the British Museum (London), the Vatican Museum (Rome), and many more.

Eric Avery (American, born 1948) is a Texas-based printmaker and psychiatrist who works at the intersection of medicine and the visual arts. During his career as a physician and medical school professor, his clinical work focused on HIV/AIDS. His prints investigating human rights abuses, social responses to disease, and death are in numerous museums’ permanent collections in the United States and England including the National Gallery of Art (Washington, DC), Baltimore Art Museum (Maryland), the Harvard University Museums (Cambridge), the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts (Philadelphia), and the British Museum (London) as well as a number of medical school libraries. In addition to his printmaking practice, he also mounts public events to educate the public on health and disease issues.

Innovations, Plate 41

Tribulations and Endings, Plate 73

Eleanor Antin (American, born 1935) is a performance and visual artist known for her conceptual feminist multimedia works which satirize the gender stereotypes in Western culture. She revisited her landmark photographic installation Carving: A Traditional Sculpture (1972, Art Institute of Chicago) in 2019, creating Carving: 45 Years Later. She was a professor of visual art at the University of California, San Diego for many years, and has been the subject of several solo exhibitions including the Museum of Modern Art and Whitney Museum of American Art (New York) and a major retrospective at the Los Angeles County Museum of Art (California), which traveled to Saint Louis (Missouri) and toured the United Kingdom. Selected collections include the Museum of Modern Art, Jewish Museum, and Whitney Museum of American Art (New York), Centre Pompidou (Paris), and the San Francisco Museum of Modern Art (California).

Nancy Azara (American, born 1939) makes wood sculptures, collages, and prints that record personal journeys of memory, images, and ideas. Her work is infused with a spirituality expressed through abstract shapes that often refer to vegetation and layers of color. She was a founder of the New York Feminist Art Institute (NYFAI) in 1979, and is known as a feminist educator as well as an artist. Azara has executed several large commissions in the New York-New Jersey area including an 24-foot long wood relief in the Robert Wood Johnson Hospital, 2004 (New Brunswick, New Jersey).

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Zeina Barakeh (Lebanese Palestinian, born 1972) is a video and digital media artist based in the San Francisco Bay Area. She taught and was a dean at the San Francisco Art Institute. Her work, as in her 2022 exhibition Wild Cards, features recent animations and prints exploring the unpredictability and mechanisms of war as seen through the hostilities, anxieties, political and cultural complexities of the Middle East. She was included in the groundbreaking multivenue 2012 exhibition organized and curated by Judith K. Brodsky and Ferris Olin, The Fertile Crescent: Gender, Art, and Society, which took place at Rutgers University, Princeton University, the Institute for Advanced Study (Princeton) and other sites.

Alexandre Arrechea (Cuban, born 1970) is an artist known for his large-scale site-specific installations, including monumental sculptures installed along New York City’s Park Avenue in 2013 and at the Coachella Valley Music and Arts Festival in 2016. He helped found the Havana-based art collective Los Carpinteros in 1992 and remained active with the group until 2003. His print, Mississippi Bucket, created at the Brodsky Center, was selected as the brand image for Prospect.1, the first international biennial in the United States, held in New Orleans, Louisiana, 2008-2009. Collections include the Museum of Modern Art and El Museo del Barrio (New York), Museo Nacional de Bellas Artes de Cuba (Havana), Suermondt Ludwig Museum (Aachen, Germany), Museo Nacional Centro de Arte Reina Sofía (Madrid), and Centro Cultural Arte Contemporáneo A.C. (Mexico City), among others. Documenting Place: Real and Imagined, Plate 16

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Will Barnet (American, 1911–2012) was a painter, printmaker, and educator revered by the many artists of the next generation he taught. Known primarily for his figural work, he also explored abstraction during various periods of his long career. Barnet’s work has entered virtually every major museum in the United States. President Barack Obama awarded him a 2011 National Medal of Arts, and in 2012, France conferred on him its Chevalier of the Order of Arts and Letters. He also received numerous awards from the National Academy of Design, the College Art Association, the Pennsylvania Academy of the Fine Arts, and the American Academy and Institute of Arts and Letters. The Sages, Plate 61

Rick Bartow (American and member of the Mad River Band of the Wiyot Tribe, 1946–2016) was an Oregon-based artist and musician. Bartow’s paintings, sculptures, and works on paper largely feature figural subjects reflecting the complex history and culture of his Native American heritage. As a printmaker, he enjoyed a twenty-year collaboration with printer Seiichi Hiroshima of Moon and Dog Press. His art is held in over 100 public collections such as the Brooklyn Museum and Whitney Museum of American Art (New York), Peabody Essex Museum (Salem, Massachusetts), the Heard Museum (Phoenix, Arizona), and the Portland Art Museum (Oregon), and was shown in over 100 solo exhibitions at museums and galleries, including the retrospective Things You Know But Cannot Explain, organized by the Jordan Schnitzer Museum of Art at the University of Oregon (Eugene). That retrospective toured 11 museums from 2015 to 2020 and was accompanied by a fully-illustrated monograph. Tribulations and Endings, Plates 69, 70

Documenting Place: Real and Imagined, Plate 17

Milcah Bassel (Israeli American, born 1981) is a transdisciplinary artist raised in Israel and working in Jersey City, New Jersey. She received her MFA from Rutgers University’s Mason Gross School of the Arts. Among her recent projects, she co-led the community papermaking project Riverbound in Newark’s Riverfront Park in August 2022. Bassel has exhibited and performed in galleries and institutions both nationally and internationally, with recent shows at Rubin Museum of the Arts and Bronx Museum of the Arts (New York), Newark Museum of Art, Zimmerli Art Museum, William Paterson University, The Gateway with Project For Empty Space (New Jersey), Kniznick Gallery at Brandeis University (Waltham, Massachusetts), and Hanina Gallery (Tel Aviv) among others. Art fairs include PULSE Contemporary Art and E/AB in New York, Untitled Art and Select in Miami.  Visualizing Texts, Plate 76

192 Pacita Abad (American, born in the Philippines, 1946–2004) was the subject of a 2023 retrospective exhibition at the Walker Art Center in Minneapolis. As a young woman she was active in student demonstrations against the Marcos regime. She left Manila to further her law studies in Spain, but instead, she arrived in California, where she met her future husband, with whom she traveled across Asia and the Middle East. It was at that point that she changed course and decided to become an artist. Icons and Symbols, Plate 38

Lynne Allen (American, born 1948) is professor of printmaking and former director of the School of Visual Arts at Boston University, as well as a former master printer and director of the Brodsky Center, and former faculty member in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University. Trained as a Tamarind Master Printer and descended from members of the Standing Rock Sioux Tribe of North and South Dakota, Allen explores Native traditions in her work. Selected collections include the Whitney Museum of American Art, the Museum of Modern Art Library, and the New York Public Library (New York), the Corcoran Gallery of Art and the Library of Congress (Washington, DC), and the Victoria and Albert Museum (London) among others. International exhibitions that exhibited her work include the Guanlan International Print Biennial (China), the Bienal Internacional de Gravura do Douro (Portugal), the Novosibirsk International Biennial of Contemporary Graphic Art (Russia), and the Tallinn Print Triennial (Estonia). Innovations, Plate 43

Emma Amos (American, 1937–2020) made prints alongside her paintings and textile work throughout her career. She was a member of the influential artist-activist groups Spiral, Heresies Collective, and the Guerrilla Girls, which called attention to the underrepresentation of Black and women artists in museums and commercial galleries. Amos was a professor at Rutgers University’s Mason Gross School of the Arts in the Department of Art and Design from 1980 to 2008. She was the subject of a major retrospective exhibition in 2021 at the Philadelphia Museum of Art. Selected collections include the Museum of Modern Art, Whitney Museum of American Art, and Studio Museum in Harlem (New York), and National Gallery of Art (Washington, DC), along with many college and university museums and galleries. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

193 El Anatsui (Ghanaian, active in Nigeria, born 1944) is an internationally renowned artist. He reuses materials that are usually discarded, such as bottle caps and copper wiring, as well as elements from cultures indigenous to Ghana and Nigeria to make the large-scale sculptures that have resulted in his becoming one of the most highly acclaimed artists in African history. His work comments on waste, transformation, consumerism, colonialism, and the environment. In April 2023, he was named to the Time 100 list of the world’s most influential people. His work is in the collections of many museums globally including the Metropolitan Museum of Art and Museum of Modern Art (New York), National Museum of African Art, Smithsonian American Art Museum (Washington DC), the British Museum (London), the Vatican Museum (Rome), and many more.

Eric Avery (American, born 1948) is a Texas-based printmaker and psychiatrist who works at the intersection of medicine and the visual arts. During his career as a physician and medical school professor, his clinical work focused on HIV/AIDS. His prints investigating human rights abuses, social responses to disease, and death are in numerous museums’ permanent collections in the United States and England including the National Gallery of Art (Washington, DC), Baltimore Art Museum (Maryland), the Harvard University Museums (Cambridge), the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts (Philadelphia), and the British Museum (London) as well as a number of medical school libraries. In addition to his printmaking practice, he also mounts public events to educate the public on health and disease issues.

Innovations, Plate 41

Tribulations and Endings, Plate 73

Eleanor Antin (American, born 1935) is a performance and visual artist known for her conceptual feminist multimedia works which satirize the gender stereotypes in Western culture. She revisited her landmark photographic installation Carving: A Traditional Sculpture (1972, Art Institute of Chicago) in 2019, creating Carving: 45 Years Later. She was a professor of visual art at the University of California, San Diego for many years, and has been the subject of several solo exhibitions including the Museum of Modern Art and Whitney Museum of American Art (New York) and a major retrospective at the Los Angeles County Museum of Art (California), which traveled to Saint Louis (Missouri) and toured the United Kingdom. Selected collections include the Museum of Modern Art, Jewish Museum, and Whitney Museum of American Art (New York), Centre Pompidou (Paris), and the San Francisco Museum of Modern Art (California).

Nancy Azara (American, born 1939) makes wood sculptures, collages, and prints that record personal journeys of memory, images, and ideas. Her work is infused with a spirituality expressed through abstract shapes that often refer to vegetation and layers of color. She was a founder of the New York Feminist Art Institute (NYFAI) in 1979, and is known as a feminist educator as well as an artist. Azara has executed several large commissions in the New York-New Jersey area including an 24-foot long wood relief in the Robert Wood Johnson Hospital, 2004 (New Brunswick, New Jersey).

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Zeina Barakeh (Lebanese Palestinian, born 1972) is a video and digital media artist based in the San Francisco Bay Area. She taught and was a dean at the San Francisco Art Institute. Her work, as in her 2022 exhibition Wild Cards, features recent animations and prints exploring the unpredictability and mechanisms of war as seen through the hostilities, anxieties, political and cultural complexities of the Middle East. She was included in the groundbreaking multivenue 2012 exhibition organized and curated by Judith K. Brodsky and Ferris Olin, The Fertile Crescent: Gender, Art, and Society, which took place at Rutgers University, Princeton University, the Institute for Advanced Study (Princeton) and other sites.

Alexandre Arrechea (Cuban, born 1970) is an artist known for his large-scale site-specific installations, including monumental sculptures installed along New York City’s Park Avenue in 2013 and at the Coachella Valley Music and Arts Festival in 2016. He helped found the Havana-based art collective Los Carpinteros in 1992 and remained active with the group until 2003. His print, Mississippi Bucket, created at the Brodsky Center, was selected as the brand image for Prospect.1, the first international biennial in the United States, held in New Orleans, Louisiana, 2008-2009. Collections include the Museum of Modern Art and El Museo del Barrio (New York), Museo Nacional de Bellas Artes de Cuba (Havana), Suermondt Ludwig Museum (Aachen, Germany), Museo Nacional Centro de Arte Reina Sofía (Madrid), and Centro Cultural Arte Contemporáneo A.C. (Mexico City), among others. Documenting Place: Real and Imagined, Plate 16

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Will Barnet (American, 1911–2012) was a painter, printmaker, and educator revered by the many artists of the next generation he taught. Known primarily for his figural work, he also explored abstraction during various periods of his long career. Barnet’s work has entered virtually every major museum in the United States. President Barack Obama awarded him a 2011 National Medal of Arts, and in 2012, France conferred on him its Chevalier of the Order of Arts and Letters. He also received numerous awards from the National Academy of Design, the College Art Association, the Pennsylvania Academy of the Fine Arts, and the American Academy and Institute of Arts and Letters. The Sages, Plate 61

Rick Bartow (American and member of the Mad River Band of the Wiyot Tribe, 1946–2016) was an Oregon-based artist and musician. Bartow’s paintings, sculptures, and works on paper largely feature figural subjects reflecting the complex history and culture of his Native American heritage. As a printmaker, he enjoyed a twenty-year collaboration with printer Seiichi Hiroshima of Moon and Dog Press. His art is held in over 100 public collections such as the Brooklyn Museum and Whitney Museum of American Art (New York), Peabody Essex Museum (Salem, Massachusetts), the Heard Museum (Phoenix, Arizona), and the Portland Art Museum (Oregon), and was shown in over 100 solo exhibitions at museums and galleries, including the retrospective Things You Know But Cannot Explain, organized by the Jordan Schnitzer Museum of Art at the University of Oregon (Eugene). That retrospective toured 11 museums from 2015 to 2020 and was accompanied by a fully-illustrated monograph. Tribulations and Endings, Plates 69, 70

Documenting Place: Real and Imagined, Plate 17

Milcah Bassel (Israeli American, born 1981) is a transdisciplinary artist raised in Israel and working in Jersey City, New Jersey. She received her MFA from Rutgers University’s Mason Gross School of the Arts. Among her recent projects, she co-led the community papermaking project Riverbound in Newark’s Riverfront Park in August 2022. Bassel has exhibited and performed in galleries and institutions both nationally and internationally, with recent shows at Rubin Museum of the Arts and Bronx Museum of the Arts (New York), Newark Museum of Art, Zimmerli Art Museum, William Paterson University, The Gateway with Project For Empty Space (New Jersey), Kniznick Gallery at Brandeis University (Waltham, Massachusetts), and Hanina Gallery (Tel Aviv) among others. Art fairs include PULSE Contemporary Art and E/AB in New York, Untitled Art and Select in Miami.  Visualizing Texts, Plate 76

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Lynda Benglis (American, born 1941) is a multimedia artist known for her feminist innovations, who first found fame in the late 1960s and early 1970s with her poured sculptures created with latex. They have been seen as a feminist response to Jackson Pollock’s drip paintings. She has continued to experiment with materials throughout her career. Her work was recently the subject of a major retrospective exhibition at the Nasher Sculpture Center in Dallas, Texas. Permanent collections which hold her work number well over 100 worldwide, including the Museum of Modern Art, Whitney Museum of American Art, Metropolitan Museum of Art (New York), Hirshhorn Museum and Sculpture Garden, National Gallery of Art (Washington, DC), just to name a few.

Bette Blank (American, born 1940) earned a Ph.D. in engineering and enjoyed a teaching career before deciding to pursue painting full-time in 2000. She began painting prolifically, scenes featuring her family or familiar locations in her hometown of Madison, New Jersey. She uses a folk art style, often including words along with a brightly colored palette to tell stories that are amusing and empathetic at the same time. She says artists Howard Finster and Horace Pippin were both important influences. Her work is in a number of permanent collections in the New York metropolitan area including the Jewish Museum (New York), Morris Museum, Zimmerli Art Museum, Hunterdon Art Museum, Noyes Museum of Art, Newark Public Library (New Jersey) and the Bruce Museum (Greenwich, Connecticut).

Innovations, Plate 44

The Sages, Plate 60

Kim Berman (South African, born 1960) is a printmaker and professor of visual art at the University of Johannesburg. She is committed to engaging arts for social change through her activism and teaching. With the late artist Nhlanhla Xaba, she cofounded the collaborative print atelier Artist Proof Studio and currently serves as its executive director, working to integrate art and social justice in both its educational and community outreach programs. Her prints have been exhibited widely in South Africa and are included in the permanent collection of the Iziko South African National Gallery (Cape Town). Her book Finding Voice: A Visual Arts Approach to Engaging Change was published by the University of Michigan Press in 2017. Berman’s activism is the subject of A Ripple in the Water: Healing Through Art, a film documentary made by Eileen M. Foti and Patricia Piroh, about how the artist-activist found a creative and culturally appropriate approach to AIDS education in South Africa.

Chakaia Booker (American, born 1953) is known internationally for her monumental abstract sculptures created with recycled car tires and discarded construction materials for both gallery and outdoor public spaces, but her practice also extends to painting, collage, and photography. She is a graduate of Rutgers University. Booker’s works are held in more than 40 public collections and have been exhibited across the United States, in Europe, Africa, and Asia. Booker was included in the 2000 Whitney Biennial and received a Guggenheim Fellowship in 2005. Recent public installation highlights include Millenium Park, 2026-2018 (Chicago), Garment District Alliance, Broadway Plazas, 2014 (New York), and National Museum of Women in the Arts New York Avenue Sculpture Project, 2012 (Washington, DC).

Tribulations and Endings, Plate 68

Willie Birch (American, born 1942) has been a New Orleans, Louisiana-based artist since 1994, when he returned to his hometown after many years working in New York. His paintings, sculpture, and works on paper explore social justice issues and Black life in America. Birch was named the James Baldwin Fellow by United States Artists and was the recipient of the Lifetime Achievement Award from the National Conference of Artists. His work appears in such collections as the National Civil Rights Museum (Memphis), Delaware Contemporary (Wilmington), Metropolitan Museum of Art (New York), New Orleans Museum of Art (Louisiana), and Pennsylvania Academy of the Fine Arts (Philadelphia), as well as in corporate and private collections. In 2022, the New York gallery Fort Gansevoort presented a retrospective of his work. The Brodsky Center: Essence and Emblems, Plate 1

Innovations, Plate 42

Sir Richard Sheridan Patrick Michael Aloysius Franklin Bowling, OBE, RA, known as Frank Bowling (Guyanese British, born 1934), is one of the renowned British artists of his generation. He was educated in London, where he continues to pursue his career while also spending significant periods in New York. Bowling is now considered a renowned artist, though the British art scene was not as receptive at first to an artist from the African diaspora. Bowling was elected a member of the Royal Academy of Arts in 2005, and in 2020 he was knighted. Employing a wide range of techniques and materials, his paintings embrace abstraction and the English landscape tradition. Bowling’s artwork is in more than 50 collections worldwide, and he has exhibited in more than 160 group and 100 solo exhibitions. In 2003, his work was seen in a solo exhibition at Aljira, a Center for Contemporary Art, in Newark, New Jersey. Tate Britain (London) presented a retrospective exhibition of his work in 2019 and in 2022–2023, he was the focus of a large show at the Museum of Fine Arts (Boston). The Sages, Plate 62

Diane Burko (American, born 1945) explores the human impact on landscapes in her paintings, photographs, and time-based media. In her recent works investigating climate change, she has collaborated with scientists working in the Arctic and in the Amazon rainforest. Burko’s early work consisted of drawings and paintings of iconic landscapes including the volcanoes of Hawaii, Italy and Iceland, leading to Burko’s interest in volcanic tectonics and glacial geology, and ultimately to climate change activism. Since 2013, Burko’s artwork reflects her research and subsequent global travels to geologically deteriorating areas due to global warming, namely melting glaciers and bleached reefs caused by heat stress. More recently, she recognized the imperative ecological challenges facing the Amazon Rainforest and Basin due to climate changes and detrimental industrial mining of natural resources. Burko’s work is in the collections of the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, the Woodmere Art Museum (Philadelphia), the Art Institute of Chicago (Illinois), the Phillips Collection and the National Academy of Sciences (Washington, DC), and the Minneapolis Institute of Art (Minnesota) among others.

Elizabeth Catlett (American and Mexican, 1915–2012) was a sculptor, printmaker, and political activist, whose influential work focused on portrayals of African Americans, particularly women. A member of the Harlem Renaissance, she is considered one of the great American sculptors of her generation, but she lived most of her life in Mexico. After a 1946 residency at the Mexico City printmaking collective Taller de Gráfica Popular, she remained in Mexico for 60 years, pursuing her artistic career and teaching sculpture at the National School of Fine Arts, where she became head of the department. A granddaughter of slaves, the artist was an activist and political progressive who protested, picketed, and was even arrested as she sought social justice. Catlett gave up her American citizenship when she moved to Mexico City and was then barred from visiting her birth country because the United States government labeled her an undesirable alien. Eventually her American citizenship was restored, and until her death she maintained homes in New York and Mexico. Catlett’s works are in many museum collections, such as the Detroit Institute of Arts (Michigan), Instituto Politécnico Nacional (Mexico City), National Museum of Women in the Arts (Washington, DC), Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, and Schomburg Center for Research in Black Culture (New York), and Minneapolis Institute of Art (Minnesota).

Documenting Place: Real and Imagined, Plate 21

The Sages, Plate 63

María Magdalena Campos-Pons (Cuban, born 1959) immigrated to the United States in 1991 after establishing her career in Havana as an important figure in New Cuban Art. Her deeply autobiographical work tells universal stories about history, revolution, and identity. She is the Cornelius Vanderbilt Endowed Chair of Fine Arts, Drawing, Performance, Installation at Vanderbilt University. Campos-Pons has had solo exhibitions at the Indianapolis Museum of Art (Indiana), the Museum of Modern Art (New York), presented over 30 commissioned performances at such institutions as the Solomon R. Guggenheim Museum (New York) and the Smithsonian National Portrait Gallery (Washington, DC), and participated in biennials in Venice (Italy), Dakar (Senegal), and Johannesburg (South Africa), as well as documenta 14 (Kassel, Germany), the Guangzhou Triennial (China), Prospect.4 Triennial (New Orleans, Louisiana), and Pacific Standard Time: LA/LA (Los Angeles). Her work is in over 30 museum collections in Canada, the United States, and the United Kingdom. Looking at the Portrait, Plate 53

Corwin Clairmont (American and member of Confederated Salish and Kootenai Tribes of the Flathead Reservation, born 1946) is a Montana-based printmaker and installation artist whose work addresses issues of environmental degradation and colonialism. Clairmont’s works of art challenge the cultural and ecological effects of European settlement upon the land previously inhabited by his indigenous ancestors for thousands of years. From Salish Kootenai treaty rights to Montana highway development, Clairmont has addressed both historical and contemporary issues. Simultaneously with his art career, Clairmont was a professor and administrator at the Salish Kootenai College, where he developed and led the fine arts department. His artwork has been exhibited nationwide as well as in China, Germany, Norway, New Zealand, France, and the United States Embassy (Kinshasha, Democratice Republic of the Congo). Awards include the Ford Foundation, National Endowment of the Arts, Eiteljorg Contemporary Art Fellowship, Arts Missoula’s Individual Artist Award, Montana, and the Montana Arts Council 2018 Governor’s Arts Award for Visual Arts. He is currently serving on the Art Council’s board.   Escaping the Unitary Linear, Plate 27 Jacqueline Clipsham (American, born in England, 1936–2020) was a clay artist and disability-rights activist who worked with the Metropolitan Museum of Art and the National Endowment for the Arts to introduce accessibility standards into the visual arts. She frequently included references to the jazz music she loved in her ceramic and sculptural work. Her work is included in major museum collections, including the Carnegie Museum of Art (Pittsburgh), Cleveland Museum of Art (Ohio), Museum of Modern Art (New York), Hunterdon Art Museum (Clinton, New Jersey), and Newark Museum of Art (New Jersey). She was honored with a Lifetime Achievement Award from the Women’s Caucus for Art in 1995. Innovations, Plate 45

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Lynda Benglis (American, born 1941) is a multimedia artist known for her feminist innovations, who first found fame in the late 1960s and early 1970s with her poured sculptures created with latex. They have been seen as a feminist response to Jackson Pollock’s drip paintings. She has continued to experiment with materials throughout her career. Her work was recently the subject of a major retrospective exhibition at the Nasher Sculpture Center in Dallas, Texas. Permanent collections which hold her work number well over 100 worldwide, including the Museum of Modern Art, Whitney Museum of American Art, Metropolitan Museum of Art (New York), Hirshhorn Museum and Sculpture Garden, National Gallery of Art (Washington, DC), just to name a few.

Bette Blank (American, born 1940) earned a Ph.D. in engineering and enjoyed a teaching career before deciding to pursue painting full-time in 2000. She began painting prolifically, scenes featuring her family or familiar locations in her hometown of Madison, New Jersey. She uses a folk art style, often including words along with a brightly colored palette to tell stories that are amusing and empathetic at the same time. She says artists Howard Finster and Horace Pippin were both important influences. Her work is in a number of permanent collections in the New York metropolitan area including the Jewish Museum (New York), Morris Museum, Zimmerli Art Museum, Hunterdon Art Museum, Noyes Museum of Art, Newark Public Library (New Jersey) and the Bruce Museum (Greenwich, Connecticut).

Innovations, Plate 44

The Sages, Plate 60

Kim Berman (South African, born 1960) is a printmaker and professor of visual art at the University of Johannesburg. She is committed to engaging arts for social change through her activism and teaching. With the late artist Nhlanhla Xaba, she cofounded the collaborative print atelier Artist Proof Studio and currently serves as its executive director, working to integrate art and social justice in both its educational and community outreach programs. Her prints have been exhibited widely in South Africa and are included in the permanent collection of the Iziko South African National Gallery (Cape Town). Her book Finding Voice: A Visual Arts Approach to Engaging Change was published by the University of Michigan Press in 2017. Berman’s activism is the subject of A Ripple in the Water: Healing Through Art, a film documentary made by Eileen M. Foti and Patricia Piroh, about how the artist-activist found a creative and culturally appropriate approach to AIDS education in South Africa.

Chakaia Booker (American, born 1953) is known internationally for her monumental abstract sculptures created with recycled car tires and discarded construction materials for both gallery and outdoor public spaces, but her practice also extends to painting, collage, and photography. She is a graduate of Rutgers University. Booker’s works are held in more than 40 public collections and have been exhibited across the United States, in Europe, Africa, and Asia. Booker was included in the 2000 Whitney Biennial and received a Guggenheim Fellowship in 2005. Recent public installation highlights include Millenium Park, 2026-2018 (Chicago), Garment District Alliance, Broadway Plazas, 2014 (New York), and National Museum of Women in the Arts New York Avenue Sculpture Project, 2012 (Washington, DC).

Tribulations and Endings, Plate 68

Willie Birch (American, born 1942) has been a New Orleans, Louisiana-based artist since 1994, when he returned to his hometown after many years working in New York. His paintings, sculpture, and works on paper explore social justice issues and Black life in America. Birch was named the James Baldwin Fellow by United States Artists and was the recipient of the Lifetime Achievement Award from the National Conference of Artists. His work appears in such collections as the National Civil Rights Museum (Memphis), Delaware Contemporary (Wilmington), Metropolitan Museum of Art (New York), New Orleans Museum of Art (Louisiana), and Pennsylvania Academy of the Fine Arts (Philadelphia), as well as in corporate and private collections. In 2022, the New York gallery Fort Gansevoort presented a retrospective of his work. The Brodsky Center: Essence and Emblems, Plate 1

Innovations, Plate 42

Sir Richard Sheridan Patrick Michael Aloysius Franklin Bowling, OBE, RA, known as Frank Bowling (Guyanese British, born 1934), is one of the renowned British artists of his generation. He was educated in London, where he continues to pursue his career while also spending significant periods in New York. Bowling is now considered a renowned artist, though the British art scene was not as receptive at first to an artist from the African diaspora. Bowling was elected a member of the Royal Academy of Arts in 2005, and in 2020 he was knighted. Employing a wide range of techniques and materials, his paintings embrace abstraction and the English landscape tradition. Bowling’s artwork is in more than 50 collections worldwide, and he has exhibited in more than 160 group and 100 solo exhibitions. In 2003, his work was seen in a solo exhibition at Aljira, a Center for Contemporary Art, in Newark, New Jersey. Tate Britain (London) presented a retrospective exhibition of his work in 2019 and in 2022–2023, he was the focus of a large show at the Museum of Fine Arts (Boston). The Sages, Plate 62

Diane Burko (American, born 1945) explores the human impact on landscapes in her paintings, photographs, and time-based media. In her recent works investigating climate change, she has collaborated with scientists working in the Arctic and in the Amazon rainforest. Burko’s early work consisted of drawings and paintings of iconic landscapes including the volcanoes of Hawaii, Italy and Iceland, leading to Burko’s interest in volcanic tectonics and glacial geology, and ultimately to climate change activism. Since 2013, Burko’s artwork reflects her research and subsequent global travels to geologically deteriorating areas due to global warming, namely melting glaciers and bleached reefs caused by heat stress. More recently, she recognized the imperative ecological challenges facing the Amazon Rainforest and Basin due to climate changes and detrimental industrial mining of natural resources. Burko’s work is in the collections of the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, the Woodmere Art Museum (Philadelphia), the Art Institute of Chicago (Illinois), the Phillips Collection and the National Academy of Sciences (Washington, DC), and the Minneapolis Institute of Art (Minnesota) among others.

Elizabeth Catlett (American and Mexican, 1915–2012) was a sculptor, printmaker, and political activist, whose influential work focused on portrayals of African Americans, particularly women. A member of the Harlem Renaissance, she is considered one of the great American sculptors of her generation, but she lived most of her life in Mexico. After a 1946 residency at the Mexico City printmaking collective Taller de Gráfica Popular, she remained in Mexico for 60 years, pursuing her artistic career and teaching sculpture at the National School of Fine Arts, where she became head of the department. A granddaughter of slaves, the artist was an activist and political progressive who protested, picketed, and was even arrested as she sought social justice. Catlett gave up her American citizenship when she moved to Mexico City and was then barred from visiting her birth country because the United States government labeled her an undesirable alien. Eventually her American citizenship was restored, and until her death she maintained homes in New York and Mexico. Catlett’s works are in many museum collections, such as the Detroit Institute of Arts (Michigan), Instituto Politécnico Nacional (Mexico City), National Museum of Women in the Arts (Washington, DC), Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, and Schomburg Center for Research in Black Culture (New York), and Minneapolis Institute of Art (Minnesota).

Documenting Place: Real and Imagined, Plate 21

The Sages, Plate 63

María Magdalena Campos-Pons (Cuban, born 1959) immigrated to the United States in 1991 after establishing her career in Havana as an important figure in New Cuban Art. Her deeply autobiographical work tells universal stories about history, revolution, and identity. She is the Cornelius Vanderbilt Endowed Chair of Fine Arts, Drawing, Performance, Installation at Vanderbilt University. Campos-Pons has had solo exhibitions at the Indianapolis Museum of Art (Indiana), the Museum of Modern Art (New York), presented over 30 commissioned performances at such institutions as the Solomon R. Guggenheim Museum (New York) and the Smithsonian National Portrait Gallery (Washington, DC), and participated in biennials in Venice (Italy), Dakar (Senegal), and Johannesburg (South Africa), as well as documenta 14 (Kassel, Germany), the Guangzhou Triennial (China), Prospect.4 Triennial (New Orleans, Louisiana), and Pacific Standard Time: LA/LA (Los Angeles). Her work is in over 30 museum collections in Canada, the United States, and the United Kingdom. Looking at the Portrait, Plate 53

Corwin Clairmont (American and member of Confederated Salish and Kootenai Tribes of the Flathead Reservation, born 1946) is a Montana-based printmaker and installation artist whose work addresses issues of environmental degradation and colonialism. Clairmont’s works of art challenge the cultural and ecological effects of European settlement upon the land previously inhabited by his indigenous ancestors for thousands of years. From Salish Kootenai treaty rights to Montana highway development, Clairmont has addressed both historical and contemporary issues. Simultaneously with his art career, Clairmont was a professor and administrator at the Salish Kootenai College, where he developed and led the fine arts department. His artwork has been exhibited nationwide as well as in China, Germany, Norway, New Zealand, France, and the United States Embassy (Kinshasha, Democratice Republic of the Congo). Awards include the Ford Foundation, National Endowment of the Arts, Eiteljorg Contemporary Art Fellowship, Arts Missoula’s Individual Artist Award, Montana, and the Montana Arts Council 2018 Governor’s Arts Award for Visual Arts. He is currently serving on the Art Council’s board.   Escaping the Unitary Linear, Plate 27 Jacqueline Clipsham (American, born in England, 1936–2020) was a clay artist and disability-rights activist who worked with the Metropolitan Museum of Art and the National Endowment for the Arts to introduce accessibility standards into the visual arts. She frequently included references to the jazz music she loved in her ceramic and sculptural work. Her work is included in major museum collections, including the Carnegie Museum of Art (Pittsburgh), Cleveland Museum of Art (Ohio), Museum of Modern Art (New York), Hunterdon Art Museum (Clinton, New Jersey), and Newark Museum of Art (New Jersey). She was honored with a Lifetime Achievement Award from the Women’s Caucus for Art in 1995. Innovations, Plate 45

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Willie Cole (American, born 1955) is a renowned multidisciplinary artist whose work transforms everyday consumer objects into monumental symbols and assemblages. He recently collaborated with Rutgers University students and community members in Newark to create two exhibitions addressing the city’s drinking water crisis. Willie Cole’s artwork has been the subject of one-person museum exhibitions at institutions such as the Montclair Art Museum (New Jersey), the University of Wyoming Art Museum (Laramie, Wyoming), and the Tampa Museum of Art (Florida). His artwork can be found in many national and international museums, including the Art Gallery of Ontario (Toronto), Buffalo AKG Art Museum (New York), Allen Memorial Art Museum (Oberlin, Ohio), Baltimore Museum of Art (Maryland), Museum of Contemporary Art Chicago (Illinois), FRAC Lorraine (Metz, France), Newark Museum of Art (New Jersey), Pérez Art Museum (Miami), and the Walker Art Center (Minneapolis, Minnesota).

David Driskell (American, 1931–2020) was an artist, art collector, curator, and scholar who played an instrumental role in establishing African American art as a field of study. He was the first art historian to write a comprehensive history of African American art. In 1976, Driskell mounted Two Centuries of Black American Art for the Los Angeles County Museum of Art, an exhibition which cemented the essential contributions of Black artists to American visual culture. He was a faculty member at the University of Maryland from 1977 to 1998. Upon his retirement, the University of Maryland named a research center in his honor—the David C. Driskell Center for the Study of Visual Arts and Culture of African Americans and the African Diaspora. President Clinton awarded him the National Humanities Medal, and he received many other honors for his work, including election to the American Academy of Arts and Sciences, 2018. A retrospective of Driskell’s work as an artist, titled Icons of Nature and History, was mounted by the High Museum of Art (Atlanta) and the Portland Museum of Art (Maine) in 2021.

Dahlia Elsayed (American, born 1969) is a New Jerseybased artist and writer who explores notions of place in her work. The ideas Elsayed explores in her artmaking are part of her personal history because many of her ancestors and the artist, herself, have experienced dislocation. Her landscapes are metaphorical, as she invents narratives that derive from maps, cartoons, and explorations of the universe to present imaginary ideas of the past, and the future. She is professor of humanities at LaGuardia Community College, City University of New York. Her work has been exhibited at institutions nationally and internationally, including the 12th Cairo Biennale (Egypt), and can be found in the public collections of the Newark Museum of Art, the Zimmerli Art Museum, and Johnson & Johnson Corporation (New Jersey), and the United States Department of State, among others. Elsayed has received awards from the Joan Mitchell Foundation, the Edward Albee Foundation, Visual Studies Workshop, MacDowell, and Women’s Studio Workshop. 

Parastou Forouhar (Iranian, 1962) is a multidisciplinary artist based in Germany, where she teaches at Johannes Gutenberg University in Mainz. Forouhar’s work is a critical response to Iranian politics and fundamentalist religion. In addition, her parents’ murders propels her to create art which comments on wrongdoings and crimes committed in war times against the innocent. She was included in the groundbreaking multivenue 2012 exhibition organized and curated by Judith K. Brodsky and Ferris Olin, The Fertile Crescent: Gender, Art, and Society, which took place at Rutgers University, Princeton University, the Institute for Advanced Study, and other sites. Her work can be found in the following permanent collections: the Queensland Art Gallery (Australia), Belvedere 21 (Vienna), Badisches Landesmuseum (Karlsruhe, Germany), Museum für Moderne Kunst (Frankfurt), and the Deutsche Bank Art Collection (Frankfurt, London, New York).

The Brodsky Center: Essence and Emblems, Plate 2

Looking at the Portrait, Plate 50

Documenting Place: Real and Imagined, Plate 20

Betsy Damon (American, born 1940) has focused her art and activism on water stewardship since the late 1980s, having established herself as a performance artist and feminist activist during the previous decade. She is known for her feminist performances as the 7,000-year-old woman during the late 1970s and her later public works revitalizing bodies water, some of which are in China. In addition to her activism on behalf of water, she has also been at the forefront of gay activism. Damon has received a number of honors including the Lifetime Achievement Award from the Women’s Caucus for Art. Her memoir, Water Talks, was published in 2022. She is a 2023 recipient of a Guggenheim Fellowship.

Mary Beth Edelson (American, 1933–2021) was a pioneering feminist artist and activist whose now-iconic 1972 work Some Living American Women Artists remains a powerful visual statement of misogyny in the art world. Edelson’s Great Goddess images are also important artworks dating from the 1970s. She was a founding member of AIR Gallery and the Heresies Collective, both devoted to promoting and empowering women artists. Among the noteworthy museums with Edelson’s work are the Solomon R. Guggenheim Museum and MoMA PS1 (New York), Smithsonian American Art Museum and Corcoran Gallery (Washington, DC), Museum of Contemporary Art (Chicago), Walker Art Center (Minneapolis), Seattle Art Museum (Washington), Tate Modern (London), and Malmö Konstmuseum (Sweden).

Lauren Ewing (American, born 1946) is a sculptor and installation artist who taught in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University for more than thirty years. Her many site-specific artworks include an AIDS memorial in Provincetown, Massachusetts, Light Wave for the 2017–2018 Amsterdam Light Festival, and others in many American cities including Seattle (Washington), Sacramento (California), Atlantic City (New Jersey), Denver (Colorado) and Philadelphia (Pennsylvania). Many of the site-specific works are mixed media, involving sound and electronic text as well as physical material. Her sculptures are in many public collections including the Metropolitan Museum of Art and Museum of Modern Art (New York), the Museum of Contemporary Art Cleveland (Ohio), and the Museum of Contemporary Art San Diego (California).

Eileen M. Foti (American, born 1963) trained as a Tamarind Master Printer, is a professor at William Paterson University and a former master printer at the Brodsky Center. In addition to making socially engaged and technically complex prints, she is also an author, and she wrote and coproduced the 2007 documentary film A Ripple in the Water: Healing through Art about Kim Berman and her anti-HIV/AIDS project in South Africa. Her prints and paintings are included in the collections of the Universiti Sains Malaysia (Gelugor, Penang), Galerija Umjetnina (Split, Croatia), Moussem Asilah (Morocco), the Yinchuan Art Museum (China), Silpakorn University (Bangkok, Thailand), Museum of Fine Arts (Boston), Huntington Museum of Art (West Virginia). and the Jersey City and Hunterdon Art Museums (New Jersey). She has received fellowships from the NJ State Council on the Arts and the MidAtlantic Arts Foundation, and she has had artist residencies throughout the world.

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Gail Deery (American, born 1957) was the former master papermaker and a collaborating printer at the Brodsky Center. She is professor of printmaking, papermaking, and book arts at the Maryland Institute College of Art (MICA) and also co-director of Dolphin Press & Print, a collaborative letterpress shop housed in the printmaking department at MICA. Her artwork can be found in the Brooklyn Museum of Art (New York), the Museum of Fine Arts (Boston), the French Ministry of Culture (Belgium), the New Jersey State Museum, Zimmerli Art Museum, Newark Public Library (New Jersey) and the Corcoran Gallery of Art (Washington, DC). She has received two visual arts grants from the New Jersey State Council on the Arts, as well as a Jerome Foundation Fellowship. Looking at the Portrait, Plate 49

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Melvin Edwards (American, born 1937) is a renowned sculptor of works in metal and former professor of sculpture in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University. He is most famous for his Lynch Fragments series, which reflects on the brutal history of slavery. In 1970, he became the first African American sculptor to have a solo exhibition at the Whitney Museum of American Art (New York). A 30-year retrospective of his sculpture was held in 1993 at the Neuberger Museum of Art (Purchase, New York), and a 50-year retrospective titled Melvin Edwards: Five Decades was held in 2015 at the Nasher Sculpture Center (Dallas, Texas) and the Zimmerli Art Museum. The Dia Art Foundation in New York recently presented an exhibition of his early installations. Notable public collections include Studio Museum in Harlem, Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art (New York), Tate Modern (London), Crystal Bridges Museum of American Art (Bentonville, Arkansas), and Smithsonian American Art Museum (Washington, DC), among many others. Cultural Vitality and Social Justice, Plate 6

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Tribulations and Endings, Plate 74

Tribulations and Endings, Plate 71

Eduardo Fausti (Argentinian, active in the United States, born 1954) is a printmaker known for his mezzotints and monotypes. Since 2015 he has divided his time between his studios in New York and the San Juan Islands in Washington State. Fausti received his MFA from the Department of Art and Design, Mason Gross School of the Arts in 1998. During his years at Rutgers, he was a key participant in the Brodsky Center project in Ecuador to teach papermaking from sisal fibers. Important collections include Library of Congress (Washington, DC), Metropolitan Museum of Art, New York Public Library, and National September 11 Memorial & Museum (New York), Museum of Fine Arts (Boston), the Fine Arts Museums of San Francisco (California), Frans Masereel Centrum (Kasterlee, Belgium), Novosibirsk State Art Museum and Yekaterinburg Museum of Fine Arts (Russia), and the China Printmaking Museum (Shenzhen, China).

Leon Golub (American, 1922–2004) was an acclaimed painter and printmaker. He contemplated the human condition: the violence of oppression and war, the imminence of aging and death, and the impact of history and culture on contemporary life. In pursuit of effective protest against tyranny and subjugation, he frequently depicted brutal figural subjects on a monumental scale. He taught in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University for almost thirty years, beginning in 1964. Recognized as a major American artist worldwide, his work is in public collections around the globe including the following selected institutions: Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, and the Jewish Museum (New York), Art Institute of Chicago (Illinois), Bibliothèque nationale de France, (Paris), Israel Museum (Jerusalem) and Tel Aviv Museum of Art (Israel), Montreal Museum of Fine Arts (Canada), Galleria degli Uffizi (Florence), Tate Modern (London), and the Vietnam National Museum Fine Arts Museum (Hanoi).

Looking at the Portrait, Plate 51

Cultural Vitality and Social Justice, Plate 8

196

197

Willie Cole (American, born 1955) is a renowned multidisciplinary artist whose work transforms everyday consumer objects into monumental symbols and assemblages. He recently collaborated with Rutgers University students and community members in Newark to create two exhibitions addressing the city’s drinking water crisis. Willie Cole’s artwork has been the subject of one-person museum exhibitions at institutions such as the Montclair Art Museum (New Jersey), the University of Wyoming Art Museum (Laramie, Wyoming), and the Tampa Museum of Art (Florida). His artwork can be found in many national and international museums, including the Art Gallery of Ontario (Toronto), Buffalo AKG Art Museum (New York), Allen Memorial Art Museum (Oberlin, Ohio), Baltimore Museum of Art (Maryland), Museum of Contemporary Art Chicago (Illinois), FRAC Lorraine (Metz, France), Newark Museum of Art (New Jersey), Pérez Art Museum (Miami), and the Walker Art Center (Minneapolis, Minnesota).

David Driskell (American, 1931–2020) was an artist, art collector, curator, and scholar who played an instrumental role in establishing African American art as a field of study. He was the first art historian to write a comprehensive history of African American art. In 1976, Driskell mounted Two Centuries of Black American Art for the Los Angeles County Museum of Art, an exhibition which cemented the essential contributions of Black artists to American visual culture. He was a faculty member at the University of Maryland from 1977 to 1998. Upon his retirement, the University of Maryland named a research center in his honor—the David C. Driskell Center for the Study of Visual Arts and Culture of African Americans and the African Diaspora. President Clinton awarded him the National Humanities Medal, and he received many other honors for his work, including election to the American Academy of Arts and Sciences, 2018. A retrospective of Driskell’s work as an artist, titled Icons of Nature and History, was mounted by the High Museum of Art (Atlanta) and the Portland Museum of Art (Maine) in 2021.

Dahlia Elsayed (American, born 1969) is a New Jerseybased artist and writer who explores notions of place in her work. The ideas Elsayed explores in her artmaking are part of her personal history because many of her ancestors and the artist, herself, have experienced dislocation. Her landscapes are metaphorical, as she invents narratives that derive from maps, cartoons, and explorations of the universe to present imaginary ideas of the past, and the future. She is professor of humanities at LaGuardia Community College, City University of New York. Her work has been exhibited at institutions nationally and internationally, including the 12th Cairo Biennale (Egypt), and can be found in the public collections of the Newark Museum of Art, the Zimmerli Art Museum, and Johnson & Johnson Corporation (New Jersey), and the United States Department of State, among others. Elsayed has received awards from the Joan Mitchell Foundation, the Edward Albee Foundation, Visual Studies Workshop, MacDowell, and Women’s Studio Workshop. 

Parastou Forouhar (Iranian, 1962) is a multidisciplinary artist based in Germany, where she teaches at Johannes Gutenberg University in Mainz. Forouhar’s work is a critical response to Iranian politics and fundamentalist religion. In addition, her parents’ murders propels her to create art which comments on wrongdoings and crimes committed in war times against the innocent. She was included in the groundbreaking multivenue 2012 exhibition organized and curated by Judith K. Brodsky and Ferris Olin, The Fertile Crescent: Gender, Art, and Society, which took place at Rutgers University, Princeton University, the Institute for Advanced Study, and other sites. Her work can be found in the following permanent collections: the Queensland Art Gallery (Australia), Belvedere 21 (Vienna), Badisches Landesmuseum (Karlsruhe, Germany), Museum für Moderne Kunst (Frankfurt), and the Deutsche Bank Art Collection (Frankfurt, London, New York).

The Brodsky Center: Essence and Emblems, Plate 2

Looking at the Portrait, Plate 50

Documenting Place: Real and Imagined, Plate 20

Betsy Damon (American, born 1940) has focused her art and activism on water stewardship since the late 1980s, having established herself as a performance artist and feminist activist during the previous decade. She is known for her feminist performances as the 7,000-year-old woman during the late 1970s and her later public works revitalizing bodies water, some of which are in China. In addition to her activism on behalf of water, she has also been at the forefront of gay activism. Damon has received a number of honors including the Lifetime Achievement Award from the Women’s Caucus for Art. Her memoir, Water Talks, was published in 2022. She is a 2023 recipient of a Guggenheim Fellowship.

Mary Beth Edelson (American, 1933–2021) was a pioneering feminist artist and activist whose now-iconic 1972 work Some Living American Women Artists remains a powerful visual statement of misogyny in the art world. Edelson’s Great Goddess images are also important artworks dating from the 1970s. She was a founding member of AIR Gallery and the Heresies Collective, both devoted to promoting and empowering women artists. Among the noteworthy museums with Edelson’s work are the Solomon R. Guggenheim Museum and MoMA PS1 (New York), Smithsonian American Art Museum and Corcoran Gallery (Washington, DC), Museum of Contemporary Art (Chicago), Walker Art Center (Minneapolis), Seattle Art Museum (Washington), Tate Modern (London), and Malmö Konstmuseum (Sweden).

Lauren Ewing (American, born 1946) is a sculptor and installation artist who taught in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University for more than thirty years. Her many site-specific artworks include an AIDS memorial in Provincetown, Massachusetts, Light Wave for the 2017–2018 Amsterdam Light Festival, and others in many American cities including Seattle (Washington), Sacramento (California), Atlantic City (New Jersey), Denver (Colorado) and Philadelphia (Pennsylvania). Many of the site-specific works are mixed media, involving sound and electronic text as well as physical material. Her sculptures are in many public collections including the Metropolitan Museum of Art and Museum of Modern Art (New York), the Museum of Contemporary Art Cleveland (Ohio), and the Museum of Contemporary Art San Diego (California).

Eileen M. Foti (American, born 1963) trained as a Tamarind Master Printer, is a professor at William Paterson University and a former master printer at the Brodsky Center. In addition to making socially engaged and technically complex prints, she is also an author, and she wrote and coproduced the 2007 documentary film A Ripple in the Water: Healing through Art about Kim Berman and her anti-HIV/AIDS project in South Africa. Her prints and paintings are included in the collections of the Universiti Sains Malaysia (Gelugor, Penang), Galerija Umjetnina (Split, Croatia), Moussem Asilah (Morocco), the Yinchuan Art Museum (China), Silpakorn University (Bangkok, Thailand), Museum of Fine Arts (Boston), Huntington Museum of Art (West Virginia). and the Jersey City and Hunterdon Art Museums (New Jersey). She has received fellowships from the NJ State Council on the Arts and the MidAtlantic Arts Foundation, and she has had artist residencies throughout the world.

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Gail Deery (American, born 1957) was the former master papermaker and a collaborating printer at the Brodsky Center. She is professor of printmaking, papermaking, and book arts at the Maryland Institute College of Art (MICA) and also co-director of Dolphin Press & Print, a collaborative letterpress shop housed in the printmaking department at MICA. Her artwork can be found in the Brooklyn Museum of Art (New York), the Museum of Fine Arts (Boston), the French Ministry of Culture (Belgium), the New Jersey State Museum, Zimmerli Art Museum, Newark Public Library (New Jersey) and the Corcoran Gallery of Art (Washington, DC). She has received two visual arts grants from the New Jersey State Council on the Arts, as well as a Jerome Foundation Fellowship. Looking at the Portrait, Plate 49

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Melvin Edwards (American, born 1937) is a renowned sculptor of works in metal and former professor of sculpture in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University. He is most famous for his Lynch Fragments series, which reflects on the brutal history of slavery. In 1970, he became the first African American sculptor to have a solo exhibition at the Whitney Museum of American Art (New York). A 30-year retrospective of his sculpture was held in 1993 at the Neuberger Museum of Art (Purchase, New York), and a 50-year retrospective titled Melvin Edwards: Five Decades was held in 2015 at the Nasher Sculpture Center (Dallas, Texas) and the Zimmerli Art Museum. The Dia Art Foundation in New York recently presented an exhibition of his early installations. Notable public collections include Studio Museum in Harlem, Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art (New York), Tate Modern (London), Crystal Bridges Museum of American Art (Bentonville, Arkansas), and Smithsonian American Art Museum (Washington, DC), among many others. Cultural Vitality and Social Justice, Plate 6

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Tribulations and Endings, Plate 74

Tribulations and Endings, Plate 71

Eduardo Fausti (Argentinian, active in the United States, born 1954) is a printmaker known for his mezzotints and monotypes. Since 2015 he has divided his time between his studios in New York and the San Juan Islands in Washington State. Fausti received his MFA from the Department of Art and Design, Mason Gross School of the Arts in 1998. During his years at Rutgers, he was a key participant in the Brodsky Center project in Ecuador to teach papermaking from sisal fibers. Important collections include Library of Congress (Washington, DC), Metropolitan Museum of Art, New York Public Library, and National September 11 Memorial & Museum (New York), Museum of Fine Arts (Boston), the Fine Arts Museums of San Francisco (California), Frans Masereel Centrum (Kasterlee, Belgium), Novosibirsk State Art Museum and Yekaterinburg Museum of Fine Arts (Russia), and the China Printmaking Museum (Shenzhen, China).

Leon Golub (American, 1922–2004) was an acclaimed painter and printmaker. He contemplated the human condition: the violence of oppression and war, the imminence of aging and death, and the impact of history and culture on contemporary life. In pursuit of effective protest against tyranny and subjugation, he frequently depicted brutal figural subjects on a monumental scale. He taught in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University for almost thirty years, beginning in 1964. Recognized as a major American artist worldwide, his work is in public collections around the globe including the following selected institutions: Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, and the Jewish Museum (New York), Art Institute of Chicago (Illinois), Bibliothèque nationale de France, (Paris), Israel Museum (Jerusalem) and Tel Aviv Museum of Art (Israel), Montreal Museum of Fine Arts (Canada), Galleria degli Uffizi (Florence), Tate Modern (London), and the Vietnam National Museum Fine Arts Museum (Hanoi).

Looking at the Portrait, Plate 51

Cultural Vitality and Social Justice, Plate 8

198 Melissa Gould (American, born 1958) is an installation artist and storyteller who frequently focuses on the legacies of the Holocaust and the Second World War in her work. Neu-York, her Brodsky Center edition, was exhibited in the 2001 summer exhibit of new works at the International Print Center New York. She has exhibited widely in Europe and the United States including the Ars Electronica Festival (Linz, Austria), the Museu D’Art Contemporani de Barcelona (Spain), Galerie Loock (Berlin), Imperial War Museum (London), Het Apollohuis (Netherlands), Palac Sztuki (Krakow), Clark Art Institute (Williamstown, Massachusetts), Photographic Resource Center (Boston), University of Minnesota (Minneapolis). Museum of Modern Art (New York). Gould is represented in the collections of the Museum of Modern Art (New York) and AuschwitzBirkenau State Museum (Oświęcim, Poland), among others.

199 Harmony Hammond (American, born 1944) has lived and worked in northern New Mexico since 1984. A cofounder of the AIR Gallery and the Heresies Collective, she was one of the leaders of the Feminist Art Movement during the 1970s and curated the first exhibition of works by lesbian artists in 1978. In addition to creating experimental, abstract, expanded paintings with a wide array of materials, she is also an important writer, teacher, and art theorist. In 2019, the Aldrich Contemporary Art Museum (Ridgefield, Connecticut) presented Harmony Hammond: Material Witness, Fifty Years of Art. Other major exhibitions include Wack! Art and the Feminist Revolution, 2007-2008 (Los Angeles Museum of Contemporary Art and MoMA PS1, New York) and Women in Abstraction 2023-2024 (White Cube, London, Centre Pompidou, Paris, and Guggenheim Museum, Bilbao). She wrote the first comprehensive history on lesbian art, Lesbian Art in America (Rizzoli, 2000).

Documenting Place: Real and Imagined, Plate 19 The Brodsky Center: Essence and Emblems, Femfolio, Plate 5 Gladys Barker Grauer (American, 1923–2019) was born in Cincinnati Ohio, and educated in Chicago, Illinois. She continued her work as an artist, educator, and curator well into the 2000s, when she spearheaded a mural movement in her adopted hometown of Newark. Her artworks can be found in the collections of New Jersey’s art institutions— the Montclair Art Museum, Morris Museum, New Jersey State Museum, Newark Museum of Art, Noyes Museum of Art, and Zimmerli Art Museum—as well as in the Smithsonian American Art Museum in Washington, DC, and the Victoria and Albert Museum in London. Cultural Vitality and Social Justice, Plate 7

Marina Gutierrez (American, born 1954) is a New Yorkbased artist who combines community-based work with studio arts. Gutierrez combines narratives from many sources and uses varied materials to create her artworks. Her work heading the Cooper Union Saturday Program resulted in more than 12,000 students from New York City’s public high schools transitioning to professions in the arts as well as entering higher educational institutions. Gutierrez’s artwork was selected for the Ljubljana Biennial of Graphic Arts (Slovenia) and the Venice Biennale (Italy). Her work is in many museum collections, among them the Bowdoin College Museum of Art (Brunswick, Maine), Crystal Bridges Museum of American Art (Bentonville, Arkansas), Milwaukee Art Museum (Wisconsin), Modern Art Museum of Fort Worth (Texas), New Museum (New York), and Kunstmuseum Bonn (Germany). The Brodsky Center: Essence and Emblems, Plate 3

Barkley L. Hendricks (American, 1945–2017) is best known for his life-sized, full-length painted portraits of Black Americans living in urban areas. Hendricks was professor of studio art at Connecticut College from 1972 until his retirement in 2010. In the mid-1960s while touring Europe, he was struck by the work of European portrait painters like van Dyck and Velázquez and realized that portraits of Blacks were absent from European and American art. Hendricks set about to change the balance by painting life-size portraits of friends, relatives and even strangers encountered on the street. He took photographs from which he worked, and several recent exhibitions have explored his extensive work as a photographer which was relatively little-known until after the artist’s death. Some major museum collections include the National Gallery of Art and the Smithsonian National Portrait Gallery (Washington, DC), the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts (Pennsylvania), the Studio Museum in Harlem (New York), the Tate Modern (London) among others.

Tribulations and Endings, Plate 75

Margo Humphrey (American, born 1942) is professor emerita at the University of Maryland. She has taught throughout the United States and in Fiji, Nigeria, Uganda, and Zimbabwe. She has exhibited internationally at such institutions as the Victoria and Albert Museum (London), the Museu de Arte Moderna do Río de Janeiro (Brazil), and the National Gallery of Modern Art (Lagos, Nigeria). Humphrey was included in the World Printmaking Survey at the Museum of Modern Art (New York) and was the focus of a 45-year retrospective survey at Hampton University Museum (Virginia). Her works on paper have been exhibited at the Smithsonian American Art Museum (Washington, DC) and the Philadelphia Museum of Art (Pennsylvania).

Don Kennell (American, born 1963) is a New Mexico– based sculptor working in partnership with his wife, artist Lisa Adler. Kennell earned his MFA degree in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University while Adler was enrolled in a graduate program in social studies, also at Rutgers. They moved to Santa Fe in 2000. Together, they engage in social practice art starting with their creation of the Art Car, commissioned in 1995 by the not-for-profit art center Art Matters (New York) in which they drove across the country, photographing and talking with people they met and sending back postcards with photographs to their participants. Funded by Bloomberg Philanthropies, in 2021, they created a public sculpture in Camden (New Jersey). Called The Invincible Cat, it is a 36 foot long, monumental but friendly panther made from repurposed black car hoods, Kennell and Adler conceived of it as helpful in eating up waste.

Visualizing Texts, Plate 78

Escaping the Unitary Linear, Plate 29

Deborah Kass (American, born 1952) is a Brooklyn-based artist who created the now-iconic yellow sculpture OY/ YO, first installed in Brooklyn Bridge Park in 2015. Her work explores the intersection of pop culture, art history, and the impact of the patriarchy with its dominance of male artists and subjugation of women and other groups. She expresses these ideas through appropriation and humor. From 1992 to 2000, she created a series of portraits of prominent Jewish people in the style of Andy Warhol’s celebrity portraits. Chairman Ma, the triptych she created at the Brodsky Center falls into this series. Selected public collections include the Simon R. Guggenheim Museum, Museum of Modern Art, Metropolitan Museum of Art, Jewish Museum, Whitney Museum of American Art, Brooklyn Museum (New York), Los Angeles County Museum of Art, Hammer Museum, La Jolla Museum of Contemporary Art (California), Smithsonian National Portrait Gallery (Washington, DC).

William Kentridge (South African, born 1955) is an internationally renowned visual and theater artist based in Johannesburg whose work can be called humanist at its core, concerned as it is with social injustice, the impact of history and the cultural burden of Western philosophy and politics. His recent projects and honors include honorary doctorates from several universities including Yale and the University of London. In 2012 he presented the Charles Eliot Norton lectures at Harvard University. In 2015 he was appointed an Honorary Academician of the Royal Academy in London. Other honors include the Princesa de Asturias Award for the Arts, 2017 (Spain), the Antonio Feltrinelli International Prize, 2018 (Italy), and the Olivier Award for Outstanding Achievement in Opera, 2023 (London). In 2016, his 500-meter frieze Triumphs and Laments was presented along the banks of the Tiber River in Rome (Italy). Kentridge has participated in documenta, 1997, 2002, 2012 as well as the Venice Biennale, 1993, 1999, 2005 and 2015.

Looking at the Portrait, Plate 54 Trenton Doyle Hancock (American, born 1974) explores a universe of his own making in his works frequently featuring narratives of an ongoing conflict between the “Mounds” and the “Vegans.” He recently designed a basketball court as a commission for the Contemporary Arts Museum (Houston, Texas). He was featured in the 2000 and 2002 Whitney Biennial exhibitions, becoming one of the youngest artists in history to participate in this prestigious survey. His work has been the subject of one-person exhibitions at the Contemporary Arts Museum Houston (Texas), Mass MoCA (North Adams, Massachusetts), the Modern Art Museum of Fort Worth (Texas), the Museum of Contemporary Art, North Miami (Florida), and the Studio Museum in Harlem (New York).

Marilyn Keating (American, born 1952) is a sculptor and teaching artist who has focused her work on public art in recent years. Based in Gloucester City, New Jersey, she was one of three artists commissioned for work to decorate the stations for the River Line Light Rail which travels between Trenton and Camden (New Jersey). She can be described as a social practice artist since she has concentrated much of her energy on public art, outdoor art and community projects. Keating has had a number of public commissions besides the River Line Light Rail, and her work is in museum collections in New Jersey as well as the White House (Washington, DC). Keating was a recipient of the George and Helen Segal Foundation Award for New Jersey sculptors in 2007.

Cultural Vitality and Social Justice, Plate 9

Roberta Harley (American) received her BFA from Rutgers University and worked as a photographer. Harley lives in New Jersey. She was a recipient of a New Jersey Print and Paper Fellowship when she created her print at the Brodsky Center. Escaping the Unitary Linear, Plate 28

Randy Hemminghaus (American, born 1957) is the master printer for the Rutgers Print Collaborative in the presentday Department of Art and Design, Mason Gross School of the Arts, and was the master printer for the Brodsky Center for many years. He lives in Jersey City with his wife Kathryn Lyness who was a consultant to the Brodsky Center on projects involving digital expertise. Hemminghaus has worked with many major American and international artists during his 30 years as a master printer including many experimental photogravure projects with William Kentridge. He is known for his technical virtuosity in all printmaking disciplines including intaglio, lithography, and silk screen, and his ability to find solutions to the most complex print projects. Tribulations and Endings, Plate 72

Looking at the Portrait, Plate 52

Innovations, Plate 47

198 Melissa Gould (American, born 1958) is an installation artist and storyteller who frequently focuses on the legacies of the Holocaust and the Second World War in her work. Neu-York, her Brodsky Center edition, was exhibited in the 2001 summer exhibit of new works at the International Print Center New York. She has exhibited widely in Europe and the United States including the Ars Electronica Festival (Linz, Austria), the Museu D’Art Contemporani de Barcelona (Spain), Galerie Loock (Berlin), Imperial War Museum (London), Het Apollohuis (Netherlands), Palac Sztuki (Krakow), Clark Art Institute (Williamstown, Massachusetts), Photographic Resource Center (Boston), University of Minnesota (Minneapolis). Museum of Modern Art (New York). Gould is represented in the collections of the Museum of Modern Art (New York) and AuschwitzBirkenau State Museum (Oświęcim, Poland), among others.

199 Harmony Hammond (American, born 1944) has lived and worked in northern New Mexico since 1984. A cofounder of the AIR Gallery and the Heresies Collective, she was one of the leaders of the Feminist Art Movement during the 1970s and curated the first exhibition of works by lesbian artists in 1978. In addition to creating experimental, abstract, expanded paintings with a wide array of materials, she is also an important writer, teacher, and art theorist. In 2019, the Aldrich Contemporary Art Museum (Ridgefield, Connecticut) presented Harmony Hammond: Material Witness, Fifty Years of Art. Other major exhibitions include Wack! Art and the Feminist Revolution, 2007-2008 (Los Angeles Museum of Contemporary Art and MoMA PS1, New York) and Women in Abstraction 2023-2024 (White Cube, London, Centre Pompidou, Paris, and Guggenheim Museum, Bilbao). She wrote the first comprehensive history on lesbian art, Lesbian Art in America (Rizzoli, 2000).

Documenting Place: Real and Imagined, Plate 19 The Brodsky Center: Essence and Emblems, Femfolio, Plate 5 Gladys Barker Grauer (American, 1923–2019) was born in Cincinnati Ohio, and educated in Chicago, Illinois. She continued her work as an artist, educator, and curator well into the 2000s, when she spearheaded a mural movement in her adopted hometown of Newark. Her artworks can be found in the collections of New Jersey’s art institutions— the Montclair Art Museum, Morris Museum, New Jersey State Museum, Newark Museum of Art, Noyes Museum of Art, and Zimmerli Art Museum—as well as in the Smithsonian American Art Museum in Washington, DC, and the Victoria and Albert Museum in London. Cultural Vitality and Social Justice, Plate 7

Marina Gutierrez (American, born 1954) is a New Yorkbased artist who combines community-based work with studio arts. Gutierrez combines narratives from many sources and uses varied materials to create her artworks. Her work heading the Cooper Union Saturday Program resulted in more than 12,000 students from New York City’s public high schools transitioning to professions in the arts as well as entering higher educational institutions. Gutierrez’s artwork was selected for the Ljubljana Biennial of Graphic Arts (Slovenia) and the Venice Biennale (Italy). Her work is in many museum collections, among them the Bowdoin College Museum of Art (Brunswick, Maine), Crystal Bridges Museum of American Art (Bentonville, Arkansas), Milwaukee Art Museum (Wisconsin), Modern Art Museum of Fort Worth (Texas), New Museum (New York), and Kunstmuseum Bonn (Germany). The Brodsky Center: Essence and Emblems, Plate 3

Barkley L. Hendricks (American, 1945–2017) is best known for his life-sized, full-length painted portraits of Black Americans living in urban areas. Hendricks was professor of studio art at Connecticut College from 1972 until his retirement in 2010. In the mid-1960s while touring Europe, he was struck by the work of European portrait painters like van Dyck and Velázquez and realized that portraits of Blacks were absent from European and American art. Hendricks set about to change the balance by painting life-size portraits of friends, relatives and even strangers encountered on the street. He took photographs from which he worked, and several recent exhibitions have explored his extensive work as a photographer which was relatively little-known until after the artist’s death. Some major museum collections include the National Gallery of Art and the Smithsonian National Portrait Gallery (Washington, DC), the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts (Pennsylvania), the Studio Museum in Harlem (New York), the Tate Modern (London) among others.

Tribulations and Endings, Plate 75

Margo Humphrey (American, born 1942) is professor emerita at the University of Maryland. She has taught throughout the United States and in Fiji, Nigeria, Uganda, and Zimbabwe. She has exhibited internationally at such institutions as the Victoria and Albert Museum (London), the Museu de Arte Moderna do Río de Janeiro (Brazil), and the National Gallery of Modern Art (Lagos, Nigeria). Humphrey was included in the World Printmaking Survey at the Museum of Modern Art (New York) and was the focus of a 45-year retrospective survey at Hampton University Museum (Virginia). Her works on paper have been exhibited at the Smithsonian American Art Museum (Washington, DC) and the Philadelphia Museum of Art (Pennsylvania).

Don Kennell (American, born 1963) is a New Mexico– based sculptor working in partnership with his wife, artist Lisa Adler. Kennell earned his MFA degree in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University while Adler was enrolled in a graduate program in social studies, also at Rutgers. They moved to Santa Fe in 2000. Together, they engage in social practice art starting with their creation of the Art Car, commissioned in 1995 by the not-for-profit art center Art Matters (New York) in which they drove across the country, photographing and talking with people they met and sending back postcards with photographs to their participants. Funded by Bloomberg Philanthropies, in 2021, they created a public sculpture in Camden (New Jersey). Called The Invincible Cat, it is a 36 foot long, monumental but friendly panther made from repurposed black car hoods, Kennell and Adler conceived of it as helpful in eating up waste.

Visualizing Texts, Plate 78

Escaping the Unitary Linear, Plate 29

Deborah Kass (American, born 1952) is a Brooklyn-based artist who created the now-iconic yellow sculpture OY/ YO, first installed in Brooklyn Bridge Park in 2015. Her work explores the intersection of pop culture, art history, and the impact of the patriarchy with its dominance of male artists and subjugation of women and other groups. She expresses these ideas through appropriation and humor. From 1992 to 2000, she created a series of portraits of prominent Jewish people in the style of Andy Warhol’s celebrity portraits. Chairman Ma, the triptych she created at the Brodsky Center falls into this series. Selected public collections include the Simon R. Guggenheim Museum, Museum of Modern Art, Metropolitan Museum of Art, Jewish Museum, Whitney Museum of American Art, Brooklyn Museum (New York), Los Angeles County Museum of Art, Hammer Museum, La Jolla Museum of Contemporary Art (California), Smithsonian National Portrait Gallery (Washington, DC).

William Kentridge (South African, born 1955) is an internationally renowned visual and theater artist based in Johannesburg whose work can be called humanist at its core, concerned as it is with social injustice, the impact of history and the cultural burden of Western philosophy and politics. His recent projects and honors include honorary doctorates from several universities including Yale and the University of London. In 2012 he presented the Charles Eliot Norton lectures at Harvard University. In 2015 he was appointed an Honorary Academician of the Royal Academy in London. Other honors include the Princesa de Asturias Award for the Arts, 2017 (Spain), the Antonio Feltrinelli International Prize, 2018 (Italy), and the Olivier Award for Outstanding Achievement in Opera, 2023 (London). In 2016, his 500-meter frieze Triumphs and Laments was presented along the banks of the Tiber River in Rome (Italy). Kentridge has participated in documenta, 1997, 2002, 2012 as well as the Venice Biennale, 1993, 1999, 2005 and 2015.

Looking at the Portrait, Plate 54 Trenton Doyle Hancock (American, born 1974) explores a universe of his own making in his works frequently featuring narratives of an ongoing conflict between the “Mounds” and the “Vegans.” He recently designed a basketball court as a commission for the Contemporary Arts Museum (Houston, Texas). He was featured in the 2000 and 2002 Whitney Biennial exhibitions, becoming one of the youngest artists in history to participate in this prestigious survey. His work has been the subject of one-person exhibitions at the Contemporary Arts Museum Houston (Texas), Mass MoCA (North Adams, Massachusetts), the Modern Art Museum of Fort Worth (Texas), the Museum of Contemporary Art, North Miami (Florida), and the Studio Museum in Harlem (New York).

Marilyn Keating (American, born 1952) is a sculptor and teaching artist who has focused her work on public art in recent years. Based in Gloucester City, New Jersey, she was one of three artists commissioned for work to decorate the stations for the River Line Light Rail which travels between Trenton and Camden (New Jersey). She can be described as a social practice artist since she has concentrated much of her energy on public art, outdoor art and community projects. Keating has had a number of public commissions besides the River Line Light Rail, and her work is in museum collections in New Jersey as well as the White House (Washington, DC). Keating was a recipient of the George and Helen Segal Foundation Award for New Jersey sculptors in 2007.

Cultural Vitality and Social Justice, Plate 9

Roberta Harley (American) received her BFA from Rutgers University and worked as a photographer. Harley lives in New Jersey. She was a recipient of a New Jersey Print and Paper Fellowship when she created her print at the Brodsky Center. Escaping the Unitary Linear, Plate 28

Randy Hemminghaus (American, born 1957) is the master printer for the Rutgers Print Collaborative in the presentday Department of Art and Design, Mason Gross School of the Arts, and was the master printer for the Brodsky Center for many years. He lives in Jersey City with his wife Kathryn Lyness who was a consultant to the Brodsky Center on projects involving digital expertise. Hemminghaus has worked with many major American and international artists during his 30 years as a master printer including many experimental photogravure projects with William Kentridge. He is known for his technical virtuosity in all printmaking disciplines including intaglio, lithography, and silk screen, and his ability to find solutions to the most complex print projects. Tribulations and Endings, Plate 72

Looking at the Portrait, Plate 52

Innovations, Plate 47

200 Byron Kim (American, born 1961) rose to prominence in 1993, when he exhibited his ongoing work Synecdoche, a series of monochromatic paintings representing the skin tones of individual sitters, at the Whitney Museum of American Art Biennial. Synecdoche can now be seen in the collection of the National Gallery of Art (Washington, DC). In addition, his works are in many institutions including the Buffalo AKG Art Museum (New York), the Art Institute of Chicago (Illinois), the Berkeley Art Museum and Pacific Film Archive (California), the Pérez Art Museum (Miami), the San Francisco Museum of Modern Art (California), the Tate Modern (London), Whitney Museum of American Art (New York) and the Worcester Art Museum (Massachusetts). Among Kim’s numerous awards are the Louise Nevelson Award in Art, American Academy of Arts and Letters, 1993, a New York Foundation for the Arts Grant and a Louis Comfort Tiffany Foundation Award, 1994, a National Endowment of the Arts Award, 1995, a Joan Mitchell Foundation Grant, 1997, and a Guggenheim Fellowship, 2017.

201 Hew Locke (British Guyanese, born 1959) is a Londonbased sculptor who recently completed Gilt, four works commissioned to decorate the facade of the Metropolitan Museum of Art. His work uses materials ranging from cardboard to toys to glitter to explore themes of colonial and postcolonial power. He has had several solo exhibitions in the United Kingdom and in the Americas and is often included in international exhibitions and biennials. His works have been acquired by collections such as Tate Britain and the National Portrait Gallery (London) and the Metropolitan Museum of Art (New York). In 2022, he became a member of the Royal Academy of Arts (London). In 2022, the Tate commissioned Locke to create Procession, an installation of life-sized figures in historical costume who form a procession through the museum’s Duveen Galleries, referring to the history of the museum which was established by sugar magnate, Henry Tate. Cultural Vitality and Social Justice, Plate 10

Igor Makarevich (Russian, born 1943) is a conceptual artist who participated in the influential performance art group Collective Actions during the 1980s. He frequently collaborated with his wife, the late artist Elena Elagina, on major installation projects beginning in the 1990s. In 2016, Makarevich donated his archives documenting works of contemporary artists in Moscow (from 1970) to the Garage Museum of Contemporary Art in Gorky Park (Moscow), which holds modern and contemporary collections. Twenty-first-century exhibitions outside of Moscow include Learning from Moscow: Positions of Current Art, Städtische Galerie, 2006 (Dresden), Origin of Species: Art in the Age of Social Darwinism, Toyama and Hiroshima City Museum of Contemporary Art, 2006 (Japan), Erase una vez Chernobyl, Centre de Cultura Contemporània de Barcelona, 2006 (Spain), Intimate diaries, Barbarian Art Gallery, 2008 (Zurich). Selected collections in Russia include the Russian State Museum and the Tretyakov Gallery (Moscow). Cultural Vitality and Social Justice, Plate 11

Escaping the Unitary Linear, Plate 30

Joyce Kozloff (American, born 1942) is known for her public artworks and as one of the founders of two movements: the Feminist Art Movement and Pattern and Decoration. She frequently incorporates maps and globes in her work to consider political and social issues. She joined with other women in the arts in 1971 to form the Los Angeles Council of Women Artists, one of the first groups to protest the lack of women in exhibitions and collections. Upon returning to New York, Kozloff was a founding member of the Heresies Collective in 1975. Kozloff became known for her public art starting with her first installation in the Harvard Square subway station, Cambridge, Massachusetts, 1985. Subsequently she has designed over 20 public art murals and mosaics in cities ranging from Wilmington, Delaware to San Francisco, California. Her paintings are in numerous collections worldwide. The Brodsky Center: Essences and Emblems, Femfolio, Plate 5

James Lavadour (American and member of the Walla Walla Tribe of Confederated Tribes of the Umatilla Indian Reservation, born 1951) is a painter and printmaker who, inspired by his introduction to printmaking at the Brodsky Center, cofounded Crow’s Shadow Institute of the Arts, a fine art printmaking center on the Umatilla Indian Reservation in Oregon. Lavadour paints imaginary landscapes which refer to the identification of Native Americans with the land. His works have been in group shows, including the 2013 Venice Biennale, and he has had numerous solo shows. Lavadour’s work is in such notable collections as the Whitney Museum of American Art (New York), Denver Art Museum (Colorado), Heard Museum (Phoenix, Arizona), and Smithsonian National Museum of the American Indian (Washington, DC), among others. He has also received several commissions for outdoor murals. Documenting Place: Real and Imagined, Plate 18

George Longfish (American and member of the Seneca and Tuscarora Nations, born in Canada, 1942) studied at the Art Institute of Chicago, going on to play an instrumental role in the field of contemporary Native American art as an artist, professor, and curator. He taught in the Native American Studies Department at the University of California, Davis, until 2003 and, as director of the university’s Gorman Museum of Native American Art from 1974 to 1996, gave many Indigenous artists their first solo exhibitions. His work can be found in the Art Institute of Chicago (Illinois) and the Hood Museum of Art (Hanover, New Hampshire), among other institutions. Icons and Symbols, Plate 39

Deborah Luster (American, born 1951) is a photographer who lives and works in Galway (Ireland) and New Orleans (Louisiana). Her work is centered on violence and its consequences. She is best known for her series of inmate portraits, published in her 2003 monograph One Big Self: Prisoners of Louisiana. Luster’s work has been shown at the San Francisco Museum of Modern Art (California), Whitney Museum of American Art (New York), Museum of Contemporary Photography at Columbia College (Chicago), Prospect.1, International Biennial (New Orleans), among other venues. Luster’s awards include the Dorothea Lange—Paul Taylor Prize for Documentary Photography from the Center for Documentary Studies at Duke University (with C. D. Wright), and an Anonymous Was a Woman Award. Her work is included in the permanent collections of the Whitney Museum of American Art (New York), the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art (California), Museum of Fine Arts Houston (Texas), and New Orleans Museum of Art (Louisiana). Documenting Place: Real and Imagined, Plate 26

Amalia Mesa-Bains (American, born 1943) is a California-based artist, curator, activist, public intellectual, and writer whose installation projects range from ofrendas (Mexican home shrines) to interventions in museum permanent collections. Her work focuses on her Mexican heritage, particularly on women’s culture and on the loss of historical memory about the Mexican American tradition. The Decade Show, 1990, organized by the New Museum, the Museum of Contemporary Hispanic Art, and the Studio Museum in Harlem, 1990, one of the first survey exhibitions to include BIPOC artists, first brought her national attention. Subsequently she has had solo shows at the San Francisco Museum of Modern Art, 1993 and 2022, and the Berkeley Art Museum and Pacific Film Archive, 2023 (California). Her installations can be found in many permanent collections such as the Smithsonian American Art Museum (Washington, DC). From 1997–2014, she was the director of the Institute for Visual and Public Art, California State University, Monterey Bay (California). She also served on the San Francisco Arts Commission. She is a 1992 MacArthur Fellow (“genius grant”) and a 2022 recipient of a Latinx Artist Fellowship among many other honors. Documenting Place: Real and Imagined, Plate 24

Sarah McEneaney (American, born in Germany, 1955) creates autobiographical paintings using detailed brushwork and vibrant color. She lives and works in Philadelphia’s Callowhill neighborhood, where she led efforts to create the Rail Park greenway. She has had solo museum shows at the Institute of Contemporary Art, Philadelphia (Pennsylvania), Mills College Art Museum (Oakland, California), and the List Gallery, Swarthmore College (Pennsylvania). McEneaney is the recipient of the Yaddo Fellowship, 1995, 1997, 2005, 2006, the Pew Fellowship in the Arts, 1993, 2001, 2002, the Joan Mitchell Foundation Grant, 2000, the MacDowell Fellowship, 1998, and the Chianti Foundation Residency, 2009, among others. Selected collections include the Pennsylvania Academy of the Fine Arts and Philadelphia Museum of Art (Pennsylvania), Rhode Island School of Design (Providence), and the Mills College Art Museum (Oakland, California). Documenting Place: Real and Imagined, Plate 23

Anne Q. McKeown (American, born 1950) is an artist and former master papermaker at the Brodsky Center. In her experimental work with handmade paper, she invites chance and accident into her concepts for creating sculpture or material imitating fabric. One of McKeown’s interests has been papermaking in various African countries including South Africa and Nigeria in particular. She has collaborated with artists from those nations both at Rutgers and in their own countries. In addition, she has been involved in the Brodsky Center’s partnership with Artists Proof Studio. Her exhibitions reflect her activities in global cultures. They include a solo exhibition, Lamia Ink! Galerie 141, Nagoya, 2003 (Japan), and group exhibitions, Fish/Le Poisson, Mail Art, 2004 (Liege, Belgium), TogetherAgain Lamia Ink! Art Forum, JARFO, Kyoto, 2005 (Japan), and Coming of Age: 21 Years of Artists Proof Studio, Johannesburg, 2012 (South Africa). Escaping the Unitary Linear, Plate 31

Yong Soon Min (American, born in Korea, 1953) explores issues of representation, cultural identity, and immigration in her art practice and curatorial projects. She is professor emerita at the University of California, Irvine. Her work has been included in many significant exhibitions including The Decade Show, the New Museum, Museum of Contemporary Hispanic Art, and the Studio Museum in Harlem, decolonization, The Bronx Museum of the Arts, Across the Pacific: Contemporary Korean and Korean American Art, Queens Museum (New York) and Kumho Museum, Seoul (South Korea), Asia/America: Identities in Contemporary Asian American Art, Asia Society (New York), the 4th and 10th Havana Biennial (Cuba), the 7th Gwangju Biennale (South Korea), and 3rd Guangzhou Triennial (China). She has received many awards including a Fulbright Senior Research Grant, a Korea Foundation Grant, Anonymous Was a Woman Award, a Guggenheim Fellowship and National Endowment for the Arts Visual Artist Award in New Genre. Min served on the board of directors of Asian American Arts Alliance, the board of directors of the College Art Association, the Korean American Museum, and the Artists Board, Institute of Contemporary Art (Los Angeles). Looking at the Portrait, Plate 56

200 Byron Kim (American, born 1961) rose to prominence in 1993, when he exhibited his ongoing work Synecdoche, a series of monochromatic paintings representing the skin tones of individual sitters, at the Whitney Museum of American Art Biennial. Synecdoche can now be seen in the collection of the National Gallery of Art (Washington, DC). In addition, his works are in many institutions including the Buffalo AKG Art Museum (New York), the Art Institute of Chicago (Illinois), the Berkeley Art Museum and Pacific Film Archive (California), the Pérez Art Museum (Miami), the San Francisco Museum of Modern Art (California), the Tate Modern (London), Whitney Museum of American Art (New York) and the Worcester Art Museum (Massachusetts). Among Kim’s numerous awards are the Louise Nevelson Award in Art, American Academy of Arts and Letters, 1993, a New York Foundation for the Arts Grant and a Louis Comfort Tiffany Foundation Award, 1994, a National Endowment of the Arts Award, 1995, a Joan Mitchell Foundation Grant, 1997, and a Guggenheim Fellowship, 2017.

201 Hew Locke (British Guyanese, born 1959) is a Londonbased sculptor who recently completed Gilt, four works commissioned to decorate the facade of the Metropolitan Museum of Art. His work uses materials ranging from cardboard to toys to glitter to explore themes of colonial and postcolonial power. He has had several solo exhibitions in the United Kingdom and in the Americas and is often included in international exhibitions and biennials. His works have been acquired by collections such as Tate Britain and the National Portrait Gallery (London) and the Metropolitan Museum of Art (New York). In 2022, he became a member of the Royal Academy of Arts (London). In 2022, the Tate commissioned Locke to create Procession, an installation of life-sized figures in historical costume who form a procession through the museum’s Duveen Galleries, referring to the history of the museum which was established by sugar magnate, Henry Tate. Cultural Vitality and Social Justice, Plate 10

Igor Makarevich (Russian, born 1943) is a conceptual artist who participated in the influential performance art group Collective Actions during the 1980s. He frequently collaborated with his wife, the late artist Elena Elagina, on major installation projects beginning in the 1990s. In 2016, Makarevich donated his archives documenting works of contemporary artists in Moscow (from 1970) to the Garage Museum of Contemporary Art in Gorky Park (Moscow), which holds modern and contemporary collections. Twenty-first-century exhibitions outside of Moscow include Learning from Moscow: Positions of Current Art, Städtische Galerie, 2006 (Dresden), Origin of Species: Art in the Age of Social Darwinism, Toyama and Hiroshima City Museum of Contemporary Art, 2006 (Japan), Erase una vez Chernobyl, Centre de Cultura Contemporània de Barcelona, 2006 (Spain), Intimate diaries, Barbarian Art Gallery, 2008 (Zurich). Selected collections in Russia include the Russian State Museum and the Tretyakov Gallery (Moscow). Cultural Vitality and Social Justice, Plate 11

Escaping the Unitary Linear, Plate 30

Joyce Kozloff (American, born 1942) is known for her public artworks and as one of the founders of two movements: the Feminist Art Movement and Pattern and Decoration. She frequently incorporates maps and globes in her work to consider political and social issues. She joined with other women in the arts in 1971 to form the Los Angeles Council of Women Artists, one of the first groups to protest the lack of women in exhibitions and collections. Upon returning to New York, Kozloff was a founding member of the Heresies Collective in 1975. Kozloff became known for her public art starting with her first installation in the Harvard Square subway station, Cambridge, Massachusetts, 1985. Subsequently she has designed over 20 public art murals and mosaics in cities ranging from Wilmington, Delaware to San Francisco, California. Her paintings are in numerous collections worldwide. The Brodsky Center: Essences and Emblems, Femfolio, Plate 5

James Lavadour (American and member of the Walla Walla Tribe of Confederated Tribes of the Umatilla Indian Reservation, born 1951) is a painter and printmaker who, inspired by his introduction to printmaking at the Brodsky Center, cofounded Crow’s Shadow Institute of the Arts, a fine art printmaking center on the Umatilla Indian Reservation in Oregon. Lavadour paints imaginary landscapes which refer to the identification of Native Americans with the land. His works have been in group shows, including the 2013 Venice Biennale, and he has had numerous solo shows. Lavadour’s work is in such notable collections as the Whitney Museum of American Art (New York), Denver Art Museum (Colorado), Heard Museum (Phoenix, Arizona), and Smithsonian National Museum of the American Indian (Washington, DC), among others. He has also received several commissions for outdoor murals. Documenting Place: Real and Imagined, Plate 18

George Longfish (American and member of the Seneca and Tuscarora Nations, born in Canada, 1942) studied at the Art Institute of Chicago, going on to play an instrumental role in the field of contemporary Native American art as an artist, professor, and curator. He taught in the Native American Studies Department at the University of California, Davis, until 2003 and, as director of the university’s Gorman Museum of Native American Art from 1974 to 1996, gave many Indigenous artists their first solo exhibitions. His work can be found in the Art Institute of Chicago (Illinois) and the Hood Museum of Art (Hanover, New Hampshire), among other institutions. Icons and Symbols, Plate 39

Deborah Luster (American, born 1951) is a photographer who lives and works in Galway (Ireland) and New Orleans (Louisiana). Her work is centered on violence and its consequences. She is best known for her series of inmate portraits, published in her 2003 monograph One Big Self: Prisoners of Louisiana. Luster’s work has been shown at the San Francisco Museum of Modern Art (California), Whitney Museum of American Art (New York), Museum of Contemporary Photography at Columbia College (Chicago), Prospect.1, International Biennial (New Orleans), among other venues. Luster’s awards include the Dorothea Lange—Paul Taylor Prize for Documentary Photography from the Center for Documentary Studies at Duke University (with C. D. Wright), and an Anonymous Was a Woman Award. Her work is included in the permanent collections of the Whitney Museum of American Art (New York), the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art (California), Museum of Fine Arts Houston (Texas), and New Orleans Museum of Art (Louisiana). Documenting Place: Real and Imagined, Plate 26

Amalia Mesa-Bains (American, born 1943) is a California-based artist, curator, activist, public intellectual, and writer whose installation projects range from ofrendas (Mexican home shrines) to interventions in museum permanent collections. Her work focuses on her Mexican heritage, particularly on women’s culture and on the loss of historical memory about the Mexican American tradition. The Decade Show, 1990, organized by the New Museum, the Museum of Contemporary Hispanic Art, and the Studio Museum in Harlem, 1990, one of the first survey exhibitions to include BIPOC artists, first brought her national attention. Subsequently she has had solo shows at the San Francisco Museum of Modern Art, 1993 and 2022, and the Berkeley Art Museum and Pacific Film Archive, 2023 (California). Her installations can be found in many permanent collections such as the Smithsonian American Art Museum (Washington, DC). From 1997–2014, she was the director of the Institute for Visual and Public Art, California State University, Monterey Bay (California). She also served on the San Francisco Arts Commission. She is a 1992 MacArthur Fellow (“genius grant”) and a 2022 recipient of a Latinx Artist Fellowship among many other honors. Documenting Place: Real and Imagined, Plate 24

Sarah McEneaney (American, born in Germany, 1955) creates autobiographical paintings using detailed brushwork and vibrant color. She lives and works in Philadelphia’s Callowhill neighborhood, where she led efforts to create the Rail Park greenway. She has had solo museum shows at the Institute of Contemporary Art, Philadelphia (Pennsylvania), Mills College Art Museum (Oakland, California), and the List Gallery, Swarthmore College (Pennsylvania). McEneaney is the recipient of the Yaddo Fellowship, 1995, 1997, 2005, 2006, the Pew Fellowship in the Arts, 1993, 2001, 2002, the Joan Mitchell Foundation Grant, 2000, the MacDowell Fellowship, 1998, and the Chianti Foundation Residency, 2009, among others. Selected collections include the Pennsylvania Academy of the Fine Arts and Philadelphia Museum of Art (Pennsylvania), Rhode Island School of Design (Providence), and the Mills College Art Museum (Oakland, California). Documenting Place: Real and Imagined, Plate 23

Anne Q. McKeown (American, born 1950) is an artist and former master papermaker at the Brodsky Center. In her experimental work with handmade paper, she invites chance and accident into her concepts for creating sculpture or material imitating fabric. One of McKeown’s interests has been papermaking in various African countries including South Africa and Nigeria in particular. She has collaborated with artists from those nations both at Rutgers and in their own countries. In addition, she has been involved in the Brodsky Center’s partnership with Artists Proof Studio. Her exhibitions reflect her activities in global cultures. They include a solo exhibition, Lamia Ink! Galerie 141, Nagoya, 2003 (Japan), and group exhibitions, Fish/Le Poisson, Mail Art, 2004 (Liege, Belgium), TogetherAgain Lamia Ink! Art Forum, JARFO, Kyoto, 2005 (Japan), and Coming of Age: 21 Years of Artists Proof Studio, Johannesburg, 2012 (South Africa). Escaping the Unitary Linear, Plate 31

Yong Soon Min (American, born in Korea, 1953) explores issues of representation, cultural identity, and immigration in her art practice and curatorial projects. She is professor emerita at the University of California, Irvine. Her work has been included in many significant exhibitions including The Decade Show, the New Museum, Museum of Contemporary Hispanic Art, and the Studio Museum in Harlem, decolonization, The Bronx Museum of the Arts, Across the Pacific: Contemporary Korean and Korean American Art, Queens Museum (New York) and Kumho Museum, Seoul (South Korea), Asia/America: Identities in Contemporary Asian American Art, Asia Society (New York), the 4th and 10th Havana Biennial (Cuba), the 7th Gwangju Biennale (South Korea), and 3rd Guangzhou Triennial (China). She has received many awards including a Fulbright Senior Research Grant, a Korea Foundation Grant, Anonymous Was a Woman Award, a Guggenheim Fellowship and National Endowment for the Arts Visual Artist Award in New Genre. Min served on the board of directors of Asian American Arts Alliance, the board of directors of the College Art Association, the Korean American Museum, and the Artists Board, Institute of Contemporary Art (Los Angeles). Looking at the Portrait, Plate 56

202 Irina Nakhova (Russian, born 1955) lives and works in Moscow and New Jersey, and in 2015 became the first woman artist to represent Russia at the Venice Biennale. She gained fame with her installations during the 1980s, and her wide-ranging practice incorporates painting, sculpture, and digital media. She was a member of the Union of Artists of the USSR from 1986 to 1989 and, alongside her friends and colleagues (among them the late Ilya Kabakov), she is considered one of the founding members of Moscow Conceptualism. Nakhova received international recognition as a young artist for Rooms, 1983–1987, the first installation in Russian art, located in the Moscow apartment where she lived. In 2013, Nakhova was awarded the Kandinsky Prize in the category of Project of the Year, one of the highest honors in contemporary Russian art for her installation, Untitled, an updated version of Rooms. Nakhova described Untitled as coming to terms with the history of her family, her own life, and the history of Russian-Soviet oppression. Looking at the Portrait, Plate 55

Diane Neumaier (American, born 1946) is a photographer who taught in the Department of Art and Design, Mason Gross School of the Arts at Rutgers University for many years. An internationally exhibited artist, Neumaier is also a curator, writer, and the editor of the anthologies Cultures in Contention, 1986, Reframings: New American Feminist Photographies, 1995, and Beyond Memory: Soviet Nonconformist Photography, 2004. She created the traveling photography exhibition A Voice Silenced, a memorial tribute to her Viennese-born grandmother, Leonore Schwarz Neumaier, first contralto of the Frankfurt Opera who was murdered by the Nazis in 1942. Diane Neumaier first went to the former USSR through the Brodsky Center’s exchange program with the Union of Artists. She was a Fulbright Scholar in Russia throughout 1994 and has organized numerous exchanges and exhibitions between Rutgers University and Russian, Ukrainian, and Eastern European artists and museums. The Brodsky Center: Essences and Emblems, Femfolio, Plate 5

Kevin O’Neill and Karisa Senavitis (American, born 1973 and 1980) are the cofounders of the design studio Will Work for Good and are particularly known for their work in the music industry. They specialize in contemporary multimedia projects, organizing events, designing traditional printed materials, as well as designing projects that require motion graphics. Escaping the Unitary Linear, Plate 32

203 Philip Orenstein (American, born in France, 1938) enrolled at Rutgers University to study physics but became an artist. He had a lifelong interest in the visual arts and decided to take a course on modern art with Allan Kaprow, the artist who invented Happenings. He continued to study at Rutgers during the period when the faculty included such revolutionary artists as Kaprow and Roy Lichtenstein, who launched Happenings (performance art), Pop Art, and Fluxus. Orenstein abandoned physics and started to explore various new ways of making art. Eventually, he spent many years at Rutgers and is now professor emeritus, Department of Art and Design, Mason Gross School of the Arts. As a Jewish child, he was hidden for his protection during World War II. He was reunited with his family and immigrated to the United States after the war. His paintings and prints are often centered around that experience.

Dot Paolo (American, born 1956) is a Branchburg, New Jersey-based photographer who received her MFA from the Department of Art and Design, Mason Gross School of the Arts, Rutgers University. She is the owner of Rabbet Art Gallery and teaches drawing and photography at Raritan Valley Community College. Paolo starts with building miniature stage sets, using dolls, doll houses, tiny furniture, and other toys. She then photographs them, creating fantasy worlds that convey psychological narratives. Her workshop, Rabbet Gallery, is a time-honored institution in New Jersey. Although she no longer organizes exhibitions, Paolo spent decades promoting New Jersey artists at Rabbet, often launching them on their careers. Paolo will have a solo exhibition at the Arts Council of Princeton (New Jersey) in 2024.

Cultural Vitality and Social Justice, Plate 12

Documenting Place: Real and Imagined, Plate 22

Gloria Rodríguez Calero (American, born in Puerto Rico, 1959) is a New Jersey-based artist known for her mixedmedia work called acrollage, which combines painting, collage, and printmaking. In 2015, El Museo del Barrio in New York presented a 30-year survey of her work. Early in her career, she was the recipient of a McDowell Traveling Scholarship, enabling her to continue her career abroad while living in Spain and France. Upon her return, she received, for two consecutive years, fellowships at the Provincetown Art Association (Massachusetts). Rodríguez Calero has also received awards, honors, and fellowships from the New Jersey State Council on the Arts, Geraldine R. Dodge Foundation, the Joan Mitchell Foundation, and the New York Foundation for the Arts as well as residencies from The New York State Council on the Arts and the National Endowment for the Arts. Cultural Vitality and Social Justice, Plate 14

Pepón Osorio (American, born in Puerto Rico, 1955) is the Laura H. Carnell Professor of Community Art at Temple University’s Tyler School of Art and Architecture. He is known for his largescale multimedia art installations such as barbershops, home interiors, and taxis which focus on contemporary Puerto Rican communities. His installations have been on view at the Pennsylvania Academy of the Fine Arts (Philadelphia), the Whitney Biennial at Whitney Museum of American Art (New York), the Museo Alejandro Otero (Caracas, Venezuela), the Africus Institute for Contemporary Art, Johannesburg Biennale (South Africa), the Museo de Arte de Puerto Rico (San Juan) the Smithsonian Institution (Washington, DC), and the 27th São Paulo Biennial (Brazil). He is the recipient of a MacArthur Fellowship (“genius grant”), the Skowhegan Medal for Sculpture, Herb Alpert Award in the Arts, a Pew Center for Arts & Heritage Fellowship, the Distinguished Artist Award for Lifetime Achievement from the College Art Association, and a United States Artists Fellowship. He was the subject of a retrospective exhibition at the New Museum (New York) in 2023. Innovations, Plate 46

Nell Painter (American, born 1942) retired as Edwards Professor of American History Emerita at Princeton University in 2005. She began her second career as an artist, as chronicled in her 2016 memoir Old in Art School, a finalist for the National Book Critics Circle autobiography award. Based in Newark, New Jersey, she creates work exploring identity using manual and digital means. As the author of the influential History of White People, she continues to write on issues related to race. Since receiving her MFA from the Rhode Island School of Design, Painter has had nine solo exhibitions, over 30 group shows at institutions that range from Harvard University to the San Angelo Museum of Fine Art (Texas), and her work is in the permanent collections of the Columbus Museum (Georgia), the Muscarelle Museum of Art, College of William and Mary (Williamsburg, Virginia), Minneapolis Institute of Art (Minnesota), Smithsonian African American Museum of Art and Culture (Washington, DC), and the Beinecke Collection of Rare Books and Manuscripts (Yale University, New Haven, Connecticut) among others. The Sages, Plate 64

Duke Riley (American, born 1972) is a Brooklyn-based artist known for his allegorical histories that simultaneously illuminate past and current events and his over-the-top performances. His work often focuses on the connection between water and land, particularly in relation to the history of urban development. Riley’s solo exhibitions include Second St. Patrick’s Day Parade, 2009 (Havana), Reclaiming the Lost Kingdom of Laird, Philagrafika 2010 (Philadelphia), An Invitation of Lubberland, 2009, Cleveland Museum of Contemporary Art (Ohio), The Rematch, Zhujiajiad, 2011 (Shanghai), DEATH TO THE LIVING: Long Live Trash, Brooklyn Museum, 2023 (New York), among others. His performances, like the one which inspired his work at the Brodsky Center, are spectacular. In Fly by Night, 2016 (Brooklyn), Riley released 2,000 LED lightcarrying pigeons that he had trained into the night sky. It enjoyed tremendous critical and popular success.

Michiko Rupnow (American, born Japan, 1941) is a New Jersey-based sculptor who worked as a pharmacist and medical technician before pursuing an art career full-time. Her work explores concepts of space and shelter within political and social contexts, particularly focusing on monuments that memorialize and shape false narratives of history. She studied architecture and sculpture at New Jersey Institute of Technology, where she received her master’s degree. Her sculptures have been exhibited at many galleries, museums, and outdoor sculpture gardens in New Jersey, New York, Connecticut, Pennsylvania, Ohio, and Hawaii. Rupnow has received a New Jersey State Council on the Arts Fellowship, a Geraldine R. Dodge Foundation Grant for the Residency Program at Vermont Studio Center, as well as a New Jersey Print and Paper Fellowship at the Brodsky Center.

Tribulations and Endings, Plate 25

Icons and Symbols, Plate 36

Faith Ringgold (American, born 1930) is a renowned artist, writer, and teacher known for her story quilts which focus on African American history and culture. Her work was the subject of a major retrospective at New York’s New Museum in 2022. She has been internationally recognized with solo shows at the Serpentine Gallery, 2019 (London) and at the Musée National Picasso-Paris (France). Her children’s book Tar Beach transformed picture book literature to include Black and brown children as protagonists. Ringgold, has received 80 awards, including a Guggenheim Fellowship, two National Endowment for the Arts awards, and the American Academy of Arts and Letters award. In 2017, Faith Ringgold was elected to the American Academy of Arts and Sciences. Ringgold’s work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Studio Museum in Harlem, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Brooklyn Museum (New York), the Smithsonian American Art Museum (Washington, DC), the Philadelphia Museum of Art (Pennsylvania), and the Victoria and Albert Museum (London), among many others. The Brodsky Center: Essence and Emblems: Femfolio, Plate 5 Cultural Vitality and Social Justice, Plate 13

Lázaro Saavedra González (Cuban, born 1964) was born and trained and continues to work in Havana, where he is a lecturer at the Instituto Superior de Arte. Relying on humor and often referencing cartoons, his works explore issues of artistic freedom within Cuba’s political environment. He was a member of the Grupo Puré in the 1980s, whose projects incorporated vernacular roots blended with social connotations. His solo exhibitions include A Retrospective Look (with Rubén Torres Llorca), which won the award for Best Curated Show of the Year in Cuba in 1989, Get Up, Chago; Stop Screwing Around, Lázaro, Espacio Aglutinador, 1996 (Havana), Body, Soul and Thought, Gallerie S, 1996 (Aachen, Germany), Mental Massage, Rice University Media Center, 1997 (Houston, Texas) and My Dossier, The Cheek and Representation, Center for the Development of Visual Arts, 1998 (Havana). In 2002, the Museo Nacional de Bellas Artes in Havana organized a retrospective The Only Animal that Laughs. In 2014 he received the National Visual Art Award granted by the Ministerio de Cultura de Cuba for his lifetime achievements. Looking at the Portrait, Plate 58

202 Irina Nakhova (Russian, born 1955) lives and works in Moscow and New Jersey, and in 2015 became the first woman artist to represent Russia at the Venice Biennale. She gained fame with her installations during the 1980s, and her wide-ranging practice incorporates painting, sculpture, and digital media. She was a member of the Union of Artists of the USSR from 1986 to 1989 and, alongside her friends and colleagues (among them the late Ilya Kabakov), she is considered one of the founding members of Moscow Conceptualism. Nakhova received international recognition as a young artist for Rooms, 1983–1987, the first installation in Russian art, located in the Moscow apartment where she lived. In 2013, Nakhova was awarded the Kandinsky Prize in the category of Project of the Year, one of the highest honors in contemporary Russian art for her installation, Untitled, an updated version of Rooms. Nakhova described Untitled as coming to terms with the history of her family, her own life, and the history of Russian-Soviet oppression. Looking at the Portrait, Plate 55

Diane Neumaier (American, born 1946) is a photographer who taught in the Department of Art and Design, Mason Gross School of the Arts at Rutgers University for many years. An internationally exhibited artist, Neumaier is also a curator, writer, and the editor of the anthologies Cultures in Contention, 1986, Reframings: New American Feminist Photographies, 1995, and Beyond Memory: Soviet Nonconformist Photography, 2004. She created the traveling photography exhibition A Voice Silenced, a memorial tribute to her Viennese-born grandmother, Leonore Schwarz Neumaier, first contralto of the Frankfurt Opera who was murdered by the Nazis in 1942. Diane Neumaier first went to the former USSR through the Brodsky Center’s exchange program with the Union of Artists. She was a Fulbright Scholar in Russia throughout 1994 and has organized numerous exchanges and exhibitions between Rutgers University and Russian, Ukrainian, and Eastern European artists and museums. The Brodsky Center: Essences and Emblems, Femfolio, Plate 5

Kevin O’Neill and Karisa Senavitis (American, born 1973 and 1980) are the cofounders of the design studio Will Work for Good and are particularly known for their work in the music industry. They specialize in contemporary multimedia projects, organizing events, designing traditional printed materials, as well as designing projects that require motion graphics. Escaping the Unitary Linear, Plate 32

203 Philip Orenstein (American, born in France, 1938) enrolled at Rutgers University to study physics but became an artist. He had a lifelong interest in the visual arts and decided to take a course on modern art with Allan Kaprow, the artist who invented Happenings. He continued to study at Rutgers during the period when the faculty included such revolutionary artists as Kaprow and Roy Lichtenstein, who launched Happenings (performance art), Pop Art, and Fluxus. Orenstein abandoned physics and started to explore various new ways of making art. Eventually, he spent many years at Rutgers and is now professor emeritus, Department of Art and Design, Mason Gross School of the Arts. As a Jewish child, he was hidden for his protection during World War II. He was reunited with his family and immigrated to the United States after the war. His paintings and prints are often centered around that experience.

Dot Paolo (American, born 1956) is a Branchburg, New Jersey-based photographer who received her MFA from the Department of Art and Design, Mason Gross School of the Arts, Rutgers University. She is the owner of Rabbet Art Gallery and teaches drawing and photography at Raritan Valley Community College. Paolo starts with building miniature stage sets, using dolls, doll houses, tiny furniture, and other toys. She then photographs them, creating fantasy worlds that convey psychological narratives. Her workshop, Rabbet Gallery, is a time-honored institution in New Jersey. Although she no longer organizes exhibitions, Paolo spent decades promoting New Jersey artists at Rabbet, often launching them on their careers. Paolo will have a solo exhibition at the Arts Council of Princeton (New Jersey) in 2024.

Cultural Vitality and Social Justice, Plate 12

Documenting Place: Real and Imagined, Plate 22

Gloria Rodríguez Calero (American, born in Puerto Rico, 1959) is a New Jersey-based artist known for her mixedmedia work called acrollage, which combines painting, collage, and printmaking. In 2015, El Museo del Barrio in New York presented a 30-year survey of her work. Early in her career, she was the recipient of a McDowell Traveling Scholarship, enabling her to continue her career abroad while living in Spain and France. Upon her return, she received, for two consecutive years, fellowships at the Provincetown Art Association (Massachusetts). Rodríguez Calero has also received awards, honors, and fellowships from the New Jersey State Council on the Arts, Geraldine R. Dodge Foundation, the Joan Mitchell Foundation, and the New York Foundation for the Arts as well as residencies from The New York State Council on the Arts and the National Endowment for the Arts. Cultural Vitality and Social Justice, Plate 14

Pepón Osorio (American, born in Puerto Rico, 1955) is the Laura H. Carnell Professor of Community Art at Temple University’s Tyler School of Art and Architecture. He is known for his largescale multimedia art installations such as barbershops, home interiors, and taxis which focus on contemporary Puerto Rican communities. His installations have been on view at the Pennsylvania Academy of the Fine Arts (Philadelphia), the Whitney Biennial at Whitney Museum of American Art (New York), the Museo Alejandro Otero (Caracas, Venezuela), the Africus Institute for Contemporary Art, Johannesburg Biennale (South Africa), the Museo de Arte de Puerto Rico (San Juan) the Smithsonian Institution (Washington, DC), and the 27th São Paulo Biennial (Brazil). He is the recipient of a MacArthur Fellowship (“genius grant”), the Skowhegan Medal for Sculpture, Herb Alpert Award in the Arts, a Pew Center for Arts & Heritage Fellowship, the Distinguished Artist Award for Lifetime Achievement from the College Art Association, and a United States Artists Fellowship. He was the subject of a retrospective exhibition at the New Museum (New York) in 2023. Innovations, Plate 46

Nell Painter (American, born 1942) retired as Edwards Professor of American History Emerita at Princeton University in 2005. She began her second career as an artist, as chronicled in her 2016 memoir Old in Art School, a finalist for the National Book Critics Circle autobiography award. Based in Newark, New Jersey, she creates work exploring identity using manual and digital means. As the author of the influential History of White People, she continues to write on issues related to race. Since receiving her MFA from the Rhode Island School of Design, Painter has had nine solo exhibitions, over 30 group shows at institutions that range from Harvard University to the San Angelo Museum of Fine Art (Texas), and her work is in the permanent collections of the Columbus Museum (Georgia), the Muscarelle Museum of Art, College of William and Mary (Williamsburg, Virginia), Minneapolis Institute of Art (Minnesota), Smithsonian African American Museum of Art and Culture (Washington, DC), and the Beinecke Collection of Rare Books and Manuscripts (Yale University, New Haven, Connecticut) among others. The Sages, Plate 64

Duke Riley (American, born 1972) is a Brooklyn-based artist known for his allegorical histories that simultaneously illuminate past and current events and his over-the-top performances. His work often focuses on the connection between water and land, particularly in relation to the history of urban development. Riley’s solo exhibitions include Second St. Patrick’s Day Parade, 2009 (Havana), Reclaiming the Lost Kingdom of Laird, Philagrafika 2010 (Philadelphia), An Invitation of Lubberland, 2009, Cleveland Museum of Contemporary Art (Ohio), The Rematch, Zhujiajiad, 2011 (Shanghai), DEATH TO THE LIVING: Long Live Trash, Brooklyn Museum, 2023 (New York), among others. His performances, like the one which inspired his work at the Brodsky Center, are spectacular. In Fly by Night, 2016 (Brooklyn), Riley released 2,000 LED lightcarrying pigeons that he had trained into the night sky. It enjoyed tremendous critical and popular success.

Michiko Rupnow (American, born Japan, 1941) is a New Jersey-based sculptor who worked as a pharmacist and medical technician before pursuing an art career full-time. Her work explores concepts of space and shelter within political and social contexts, particularly focusing on monuments that memorialize and shape false narratives of history. She studied architecture and sculpture at New Jersey Institute of Technology, where she received her master’s degree. Her sculptures have been exhibited at many galleries, museums, and outdoor sculpture gardens in New Jersey, New York, Connecticut, Pennsylvania, Ohio, and Hawaii. Rupnow has received a New Jersey State Council on the Arts Fellowship, a Geraldine R. Dodge Foundation Grant for the Residency Program at Vermont Studio Center, as well as a New Jersey Print and Paper Fellowship at the Brodsky Center.

Tribulations and Endings, Plate 25

Icons and Symbols, Plate 36

Faith Ringgold (American, born 1930) is a renowned artist, writer, and teacher known for her story quilts which focus on African American history and culture. Her work was the subject of a major retrospective at New York’s New Museum in 2022. She has been internationally recognized with solo shows at the Serpentine Gallery, 2019 (London) and at the Musée National Picasso-Paris (France). Her children’s book Tar Beach transformed picture book literature to include Black and brown children as protagonists. Ringgold, has received 80 awards, including a Guggenheim Fellowship, two National Endowment for the Arts awards, and the American Academy of Arts and Letters award. In 2017, Faith Ringgold was elected to the American Academy of Arts and Sciences. Ringgold’s work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Studio Museum in Harlem, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Brooklyn Museum (New York), the Smithsonian American Art Museum (Washington, DC), the Philadelphia Museum of Art (Pennsylvania), and the Victoria and Albert Museum (London), among many others. The Brodsky Center: Essence and Emblems: Femfolio, Plate 5 Cultural Vitality and Social Justice, Plate 13

Lázaro Saavedra González (Cuban, born 1964) was born and trained and continues to work in Havana, where he is a lecturer at the Instituto Superior de Arte. Relying on humor and often referencing cartoons, his works explore issues of artistic freedom within Cuba’s political environment. He was a member of the Grupo Puré in the 1980s, whose projects incorporated vernacular roots blended with social connotations. His solo exhibitions include A Retrospective Look (with Rubén Torres Llorca), which won the award for Best Curated Show of the Year in Cuba in 1989, Get Up, Chago; Stop Screwing Around, Lázaro, Espacio Aglutinador, 1996 (Havana), Body, Soul and Thought, Gallerie S, 1996 (Aachen, Germany), Mental Massage, Rice University Media Center, 1997 (Houston, Texas) and My Dossier, The Cheek and Representation, Center for the Development of Visual Arts, 1998 (Havana). In 2002, the Museo Nacional de Bellas Artes in Havana organized a retrospective The Only Animal that Laughs. In 2014 he received the National Visual Art Award granted by the Ministerio de Cultura de Cuba for his lifetime achievements. Looking at the Portrait, Plate 58

204 Juan Sánchez (American, born 1954), a professor at Hunter College in New York, is one of the most influential Nuyorican artists working today. He has expanded his artistic practice from its focus on paintings, prints, and collages to include photography and video and continue his ongoing exploration of issues of Puerto Rican identity and politics. Sánchez’s artworks can be found in New York’s Metropolitan Museum of Art, Museum of Modern Art, and Whitney Museum of American Art among many other museums and collections. He has received many awards for his work, including a Guggenheim Fellowship, a fellowship from the National Endowment for the Arts, a Lifetime Achievement Award from the National Hispanic Academy of Media Arts and Sciences and the PollockKrasner Award. Icons and Symbols, Plate 37

Miriam Schapiro (Canadian, active in the United States, 1923–2015) is one of the founders of the Feminist Art Movement in the 1970s. With Judy Chicago, she established the Feminist Art Program at the California Institute of the Arts (CalArts) in Santa Clarita (California) in 1971. She experimented widely, becoming one of the first artists to make computer-based paintings, and also invented the process of femmage, incorporating fabrics and trim into the painted surface. She was one of the initiators of the Pattern and Decoration movement of the 1970s, which sought to reconsider and reincorporate craft practices into fine art. Schapiro has been the subject of numerous exhibitions and her work is held in collections worldwide, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art (New York), the Museum of Fine Art (Boston), and the Ludwig Collection (Dresden). In 2018, the Museum of Arts and Design in New York presented Surface/Depth: The Decorative after Miriam Schapiro, positioning Schapiro’s work alongside the work of contemporary artists. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5, Escaping the Unitary Linear, Plate 35 Carolee Schneemann (American, 1939–2019) was a visual and performance artist whose work explored taboos around gender and sexuality, often using her own body as a primary subject. Largely ignored by critics and museums until the 1990s, she is now recognized as one of the most influential artists of the late 20th century. She began her art career creating abstract expressionist paintings but quickly ventured into performance. In 1964, Schneemann debuted what became her best-known work, Meat Joy, in Paris. Another of Schneemann’s best-known performance pieces is Interior Scroll (1975) in which she stood naked, pulled a long strip of paper from her vagina, and read from it. She taught and lectured at institutions throughout the United States and in Europe and published widely. Schneemann received the Golden Lion for lifetime achievement at the 2017 Venice Biennale. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Joan Semmel (American, born 1932) is a painter best known for the large-scale nude self-portraits she began making in the 1970s. She was a member of the faculty in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University for many years. The Pennsylvania Academy of the Fine Arts in Philadelphia organized the first museum retrospective of her work in 2020. In the 1970s Semmel began painting her nude body from her own perspective, thus interrogating the historic male gaze and giving women agency in their own sexuality. Her work has been widely exhibited and is in collections worldwide including the Museum of Modern Art and the Brooklyn Museum (New York), Museum of Contemporary Art (Los Angeles), the Tate Modern (London), and The Dallas Museum (Texas) among many others. Semmel’s awards include a Macdowell Residency, 1977, National Endowment for the Arts grants, 1980, 1985, Yaddo Residency, 1980, a Distinguished Alumnus Award, Cooper Union, 1985, the Richard Florsheim Art Fund Grant, 1996, the Women’s Caucus for Art Lifetime Achievement Award, 2013, the Anonymous Was A Woman Award, 2007, and was named a National Academician of the National Academy of Design, 2014 (New York). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Ela Shah (American, born in India, 1945) is a Montclair, New Jersey-based sculptor whose work explores faith in a variety of media. Her life and work are the subjects of the 2021 documentary film and publication Ela: Breaking Boundaries. Her work is in the collections of the New Jersey State Museum, Montclair Museum, Jersey City Museum, Newark Library, Hunterdon Museum, Zimmerli Art Museum (New Jersey), and also in the permanent collections of the Indian Embassy (Washington, DC), Air India, and other public and private collections. She has received numerous awards and fellowships including two awards from the National Association of Women Artists in New York, three New Jersey State Arts Council Fellowship Awards, 1999, 2006, 2023, a Geraldine R. Dodge Foundation Grant for Residency Program at Vermont Studio Center, 1999, as well as her New Jersey Print and Paper Fellowship from the Brodsky Center.

Jaune Quick-to-See Smith (American and member of the Confederated Salish and Kootenai Tribes of the Flathead Reservation, born 1940) has developed a complex visual language in her paintings and prints, incorporating maps, art historical references, and commercial slogans to explore contemporary issues of Native American identity and history. The National Gallery of Art (Washington, DC) acquired a work in 2022 by Smith as its first painting in the collection by a Native American artist. The Whitney Museum of American Art mounted the first New York retrospective of her work in 2023. Many of her works of art are in other permanent collections, including the Denver Art Museum (Colorado), the Metropolitan Museum of Art and the Whitney Museum of American Art (New York),and the National Museum of Women in the Arts and the Smithsonian American Art Museum (Washington, DC). The Brodsky Center: Essence and Emblems, Plate 4

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Buzz Spector (American, born 1948) focuses on books, words, print, and paper in his artistic practice, exploring both their physical and conceptual qualities. He is professor emeritus at Washington University in Saint Louis (Missouri) and is currently a visiting faculty member at Philadelphia’s University of the Arts. Spector was the subject of a 40-year retrospective at the Saint Louis Art Museum in 2020. Other solo exhibitions include the Art Institute of Chicago (Illinois) and the Corcoran Gallery of Art (Washington, DC). He was founding editor of White Walls A Magazine of Writings By Artists, and also of december magazine. He is the recipient of the Distinguished Teaching Award from the College Art Association. Visualizing Texts, Plate 79

Kiki Smith (American, born in Germany, 1954) is a sculptor and a printmaker. Her work can be described as feminist in that she explores the appellation woman, and what it means to be female, sometimes using mythical or fictional personages like Alice in Wonderland or mermaids to add a psychological element to the definition. Her large drawings and prints are characterized by her distinctive mark making and her bronze sculptures also have a quality that makes them immediately recognizable as Smith’s work. She has been the subject of many solo exhibitions worldwide including over 25 at museums and her sculptures and drawings have been featured in five Venice Biennales. She has been elected to both the American Academy of Arts and Letters and the American Academy of Arts and Sciences. In 2017 she was honored by the Royal Academy of Arts (United Kingdom) and named an Honorary Royal Academician. Other awards include the Skowhegan Medal for Sculpture in 2000, the 2009 Edward MacDowell Medal, the 2013 U.S. Department of State Medal of Arts, conferred by Hillary Clinton, and the 2016 Lifetime Achievement Award from the International Sculpture Center, among others. Her work is in permanent collections worldwide. Looking at the Portrait, Plate 57

Icons and Symbols, Plate 40

Sylvia Sleigh (American, born in Wales, United Kingdom, 1916–2010) pursued her career in New York beginning in the 1960s, gaining prominence for her paintings that presented male nudes in poses borrowed from earlier paintings of goddesses and odalisques. In 1973, she helped found SoHo 20, a nonprofit organization promoting the work of women artists. Sleigh had dozens of solo and group exhibitions, both in her native United Kingdom and in the United States. Some selected permanent collections include the National Portrait Gallery (London), the Art Institute of Chicago (Illinois), Milwaukee Art Museum (Wisconsin), National Museum of Women in the Arts (Washington, DC), Portland Art Museum (Oregon), Virginia Museum of Fine Arts (Richmond), Weatherspoon Art Museum, University of North Carolina (Greensboro, North Carolina). She received many honors including a Lifetime Achievement Award, Women’s Caucus for Art, 2011, Distinguished Artist Award for Lifetime Achievement, College Art Association, 2008, a PollockKrasner Foundation Grant, 1985, and a National Endowment for the Arts, Visual Artists Fellowship, 1982.

205

Joan Snyder (American, born 1940) creates paintings and works on paper that explore feminist narratives and continually experiment with abstraction. A graduate of Douglass College and Rutgers University, in 1971, she established with the Douglass College librarian the Women Artists Series, using the college library as an alternative art space. Now over 50 years old, this award-winning series continues to champion emerging and established women artists. Snyder is known for works that address women’s issues at the same time that she is equally well-known for her gestural abstract style Her artworks were included in the 1973 and 1981 Whitney Biennials and the 1975 Corcoran Biennial, and they can be found in numerous museum collections, including the Solomon R. Guggenheim Museum, Jewish Museum, Metropolitan Museum of Art, and Whitney Museum of American Art (New York), as well as the Art Institute of Chicago (Illinois), the San Francisco Museum of Modern Art (California), and the Tate Modern (London, UK). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5 Innovations, Plate 48

Nancy Spero (American, 1926–2009) combined text, figures, and references to historical art in her politically charged works which addressed the horrors of war, the Holocaust, and violence against women. In 1972, she was among the founding members of the allwoman art collective AIR Gallery and began focusing her work exclusively on women at that time. Instead of conventional rectangular canvases, Spero printed on long scrolls of paper. Using words as well as images, they are powerful narratives repudiating racism, sexism, and violence, but her figures were small in scale, intimate rather than grand. The contrast made them all the more shocking. Her many exhibitions took place internationally as well as in the United States. They included shows in London (United Kingdom), Madrid (Spain), Berlin (Germany), Krakow (Poland), Rio de Janeiro (Brazil), Ljubljana (Slovenia), Sydney (Austrailia) among others. Her work can be found in the collections of The Museum of Modern Art (New York), the Museum of Contemporary Art (Los Angeles), and the Institute of Contemporary Art (Boston). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Pat Steir (American, born 1940) gained recognition for her paintings of defaced flowers during the 1970s. She is now best known for the Waterfall paintings she began creating in the 1980s, as well as her installation works. Steir collaborated with the poet Anne Waldman on the work in this exhibition. Her work can be found in dozens of museums including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art (New York), Hirschhorn Museum and Sculpture Garden, National Gallery of Art, and Smithsonian American Art Museum (Washington, DC), Tate Modern (London), the Irish Museum of Modern Art (Dublin), and the Kunstmuseum (Bern, Switzerland). She received the United States National Medal of the Arts, 2017 and in 2016, was elected to the American Academy of Arts and Letters. Visualizing Texts, Plate 77

204 Juan Sánchez (American, born 1954), a professor at Hunter College in New York, is one of the most influential Nuyorican artists working today. He has expanded his artistic practice from its focus on paintings, prints, and collages to include photography and video and continue his ongoing exploration of issues of Puerto Rican identity and politics. Sánchez’s artworks can be found in New York’s Metropolitan Museum of Art, Museum of Modern Art, and Whitney Museum of American Art among many other museums and collections. He has received many awards for his work, including a Guggenheim Fellowship, a fellowship from the National Endowment for the Arts, a Lifetime Achievement Award from the National Hispanic Academy of Media Arts and Sciences and the PollockKrasner Award. Icons and Symbols, Plate 37

Miriam Schapiro (Canadian, active in the United States, 1923–2015) is one of the founders of the Feminist Art Movement in the 1970s. With Judy Chicago, she established the Feminist Art Program at the California Institute of the Arts (CalArts) in Santa Clarita (California) in 1971. She experimented widely, becoming one of the first artists to make computer-based paintings, and also invented the process of femmage, incorporating fabrics and trim into the painted surface. She was one of the initiators of the Pattern and Decoration movement of the 1970s, which sought to reconsider and reincorporate craft practices into fine art. Schapiro has been the subject of numerous exhibitions and her work is held in collections worldwide, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art (New York), the Museum of Fine Art (Boston), and the Ludwig Collection (Dresden). In 2018, the Museum of Arts and Design in New York presented Surface/Depth: The Decorative after Miriam Schapiro, positioning Schapiro’s work alongside the work of contemporary artists. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5, Escaping the Unitary Linear, Plate 35 Carolee Schneemann (American, 1939–2019) was a visual and performance artist whose work explored taboos around gender and sexuality, often using her own body as a primary subject. Largely ignored by critics and museums until the 1990s, she is now recognized as one of the most influential artists of the late 20th century. She began her art career creating abstract expressionist paintings but quickly ventured into performance. In 1964, Schneemann debuted what became her best-known work, Meat Joy, in Paris. Another of Schneemann’s best-known performance pieces is Interior Scroll (1975) in which she stood naked, pulled a long strip of paper from her vagina, and read from it. She taught and lectured at institutions throughout the United States and in Europe and published widely. Schneemann received the Golden Lion for lifetime achievement at the 2017 Venice Biennale. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Joan Semmel (American, born 1932) is a painter best known for the large-scale nude self-portraits she began making in the 1970s. She was a member of the faculty in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University for many years. The Pennsylvania Academy of the Fine Arts in Philadelphia organized the first museum retrospective of her work in 2020. In the 1970s Semmel began painting her nude body from her own perspective, thus interrogating the historic male gaze and giving women agency in their own sexuality. Her work has been widely exhibited and is in collections worldwide including the Museum of Modern Art and the Brooklyn Museum (New York), Museum of Contemporary Art (Los Angeles), the Tate Modern (London), and The Dallas Museum (Texas) among many others. Semmel’s awards include a Macdowell Residency, 1977, National Endowment for the Arts grants, 1980, 1985, Yaddo Residency, 1980, a Distinguished Alumnus Award, Cooper Union, 1985, the Richard Florsheim Art Fund Grant, 1996, the Women’s Caucus for Art Lifetime Achievement Award, 2013, the Anonymous Was A Woman Award, 2007, and was named a National Academician of the National Academy of Design, 2014 (New York). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Ela Shah (American, born in India, 1945) is a Montclair, New Jersey-based sculptor whose work explores faith in a variety of media. Her life and work are the subjects of the 2021 documentary film and publication Ela: Breaking Boundaries. Her work is in the collections of the New Jersey State Museum, Montclair Museum, Jersey City Museum, Newark Library, Hunterdon Museum, Zimmerli Art Museum (New Jersey), and also in the permanent collections of the Indian Embassy (Washington, DC), Air India, and other public and private collections. She has received numerous awards and fellowships including two awards from the National Association of Women Artists in New York, three New Jersey State Arts Council Fellowship Awards, 1999, 2006, 2023, a Geraldine R. Dodge Foundation Grant for Residency Program at Vermont Studio Center, 1999, as well as her New Jersey Print and Paper Fellowship from the Brodsky Center.

Jaune Quick-to-See Smith (American and member of the Confederated Salish and Kootenai Tribes of the Flathead Reservation, born 1940) has developed a complex visual language in her paintings and prints, incorporating maps, art historical references, and commercial slogans to explore contemporary issues of Native American identity and history. The National Gallery of Art (Washington, DC) acquired a work in 2022 by Smith as its first painting in the collection by a Native American artist. The Whitney Museum of American Art mounted the first New York retrospective of her work in 2023. Many of her works of art are in other permanent collections, including the Denver Art Museum (Colorado), the Metropolitan Museum of Art and the Whitney Museum of American Art (New York),and the National Museum of Women in the Arts and the Smithsonian American Art Museum (Washington, DC). The Brodsky Center: Essence and Emblems, Plate 4

The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Buzz Spector (American, born 1948) focuses on books, words, print, and paper in his artistic practice, exploring both their physical and conceptual qualities. He is professor emeritus at Washington University in Saint Louis (Missouri) and is currently a visiting faculty member at Philadelphia’s University of the Arts. Spector was the subject of a 40-year retrospective at the Saint Louis Art Museum in 2020. Other solo exhibitions include the Art Institute of Chicago (Illinois) and the Corcoran Gallery of Art (Washington, DC). He was founding editor of White Walls A Magazine of Writings By Artists, and also of december magazine. He is the recipient of the Distinguished Teaching Award from the College Art Association. Visualizing Texts, Plate 79

Kiki Smith (American, born in Germany, 1954) is a sculptor and a printmaker. Her work can be described as feminist in that she explores the appellation woman, and what it means to be female, sometimes using mythical or fictional personages like Alice in Wonderland or mermaids to add a psychological element to the definition. Her large drawings and prints are characterized by her distinctive mark making and her bronze sculptures also have a quality that makes them immediately recognizable as Smith’s work. She has been the subject of many solo exhibitions worldwide including over 25 at museums and her sculptures and drawings have been featured in five Venice Biennales. She has been elected to both the American Academy of Arts and Letters and the American Academy of Arts and Sciences. In 2017 she was honored by the Royal Academy of Arts (United Kingdom) and named an Honorary Royal Academician. Other awards include the Skowhegan Medal for Sculpture in 2000, the 2009 Edward MacDowell Medal, the 2013 U.S. Department of State Medal of Arts, conferred by Hillary Clinton, and the 2016 Lifetime Achievement Award from the International Sculpture Center, among others. Her work is in permanent collections worldwide. Looking at the Portrait, Plate 57

Icons and Symbols, Plate 40

Sylvia Sleigh (American, born in Wales, United Kingdom, 1916–2010) pursued her career in New York beginning in the 1960s, gaining prominence for her paintings that presented male nudes in poses borrowed from earlier paintings of goddesses and odalisques. In 1973, she helped found SoHo 20, a nonprofit organization promoting the work of women artists. Sleigh had dozens of solo and group exhibitions, both in her native United Kingdom and in the United States. Some selected permanent collections include the National Portrait Gallery (London), the Art Institute of Chicago (Illinois), Milwaukee Art Museum (Wisconsin), National Museum of Women in the Arts (Washington, DC), Portland Art Museum (Oregon), Virginia Museum of Fine Arts (Richmond), Weatherspoon Art Museum, University of North Carolina (Greensboro, North Carolina). She received many honors including a Lifetime Achievement Award, Women’s Caucus for Art, 2011, Distinguished Artist Award for Lifetime Achievement, College Art Association, 2008, a PollockKrasner Foundation Grant, 1985, and a National Endowment for the Arts, Visual Artists Fellowship, 1982.

205

Joan Snyder (American, born 1940) creates paintings and works on paper that explore feminist narratives and continually experiment with abstraction. A graduate of Douglass College and Rutgers University, in 1971, she established with the Douglass College librarian the Women Artists Series, using the college library as an alternative art space. Now over 50 years old, this award-winning series continues to champion emerging and established women artists. Snyder is known for works that address women’s issues at the same time that she is equally well-known for her gestural abstract style Her artworks were included in the 1973 and 1981 Whitney Biennials and the 1975 Corcoran Biennial, and they can be found in numerous museum collections, including the Solomon R. Guggenheim Museum, Jewish Museum, Metropolitan Museum of Art, and Whitney Museum of American Art (New York), as well as the Art Institute of Chicago (Illinois), the San Francisco Museum of Modern Art (California), and the Tate Modern (London, UK). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5 Innovations, Plate 48

Nancy Spero (American, 1926–2009) combined text, figures, and references to historical art in her politically charged works which addressed the horrors of war, the Holocaust, and violence against women. In 1972, she was among the founding members of the allwoman art collective AIR Gallery and began focusing her work exclusively on women at that time. Instead of conventional rectangular canvases, Spero printed on long scrolls of paper. Using words as well as images, they are powerful narratives repudiating racism, sexism, and violence, but her figures were small in scale, intimate rather than grand. The contrast made them all the more shocking. Her many exhibitions took place internationally as well as in the United States. They included shows in London (United Kingdom), Madrid (Spain), Berlin (Germany), Krakow (Poland), Rio de Janeiro (Brazil), Ljubljana (Slovenia), Sydney (Austrailia) among others. Her work can be found in the collections of The Museum of Modern Art (New York), the Museum of Contemporary Art (Los Angeles), and the Institute of Contemporary Art (Boston). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Pat Steir (American, born 1940) gained recognition for her paintings of defaced flowers during the 1970s. She is now best known for the Waterfall paintings she began creating in the 1980s, as well as her installation works. Steir collaborated with the poet Anne Waldman on the work in this exhibition. Her work can be found in dozens of museums including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art (New York), Hirschhorn Museum and Sculpture Garden, National Gallery of Art, and Smithsonian American Art Museum (Washington, DC), Tate Modern (London), the Irish Museum of Modern Art (Dublin), and the Kunstmuseum (Bern, Switzerland). She received the United States National Medal of the Arts, 2017 and in 2016, was elected to the American Academy of Arts and Letters. Visualizing Texts, Plate 77

206 May Stevens (American, 1924–2019) rose to prominence in the 1960s as both an artist and a political activist, creating paintings inspired by the civil rights movement and opposition to the Vietnam War, most notably her Big Daddy series. She became increasingly involved in the feminist movement of the 1970s and was among the founders of the Heresies Collective and the Guerrilla Girls. She was the subject of a retrospective exhibition at the Museum of Fine Arts (Boston) and another traveling solo exhibit was seen at the Minneapolis Institute of Art (Minnesota), the Springfield Museum of Art (Missouri), and the National Museum of Women in the Arts (Washington, DC). Among the museum collections where her works can be found are the British Museum (London), the Cleveland Museum of Art (Ohio), Harvard University Art Museums (Cambridge, Massachusetts), Metropolitan Museum of Art, Museum of Modern Art, National Academy of Design, the Brooklyn Museum, and Whitney Museum of American Art (New York), and the San Francisco Museum of Modern Art (California).

207 Mickalene Thomas (American, born 1971) has a wide-ranging artistic practice, most notably collages and rhinestoneembellished paintings that address the complexity of Black female identity within the Western artistic canon. Her art practice is characterized by the way she uses materials from popular culture as an element in her paintings. That interest recently led her to design the staging for Dior’s SpringSummer Haute Couture show in Paris, 2022. Her paintings are also shaped by the history of portraiture and depictions of the female nude. Her first museum exhibition was at the Brooklyn Museum in 2013. Other solo exhibitions include George Eastman House (Rochester, New York), L’Ecole des Beaux Arts (Monaco), and Bienal Internacional de Arte Contemporáneo de Cartagena de Indias (Columbia). Thomas’s paintings can be found in the collections of the Brooklyn Museum,  Solomon R. Guggenheim Museum, Museum of Modern Art, Whitney Museum of American Art (New York), San Francisco Museum of Modern Art (California), and the Museum of Fine Arts, (Boston), among many others.

June Wayne (American, 1918–2011) founded the Tamarind Lithography Workshop in Los Angeles in 1960, establishing a training program for master printers and a model for collaborative printmaking ateliers that spurred an American renaissance of fine art printmaking. In 1970, she stepped down from directing Tamarind after arranging for the workshop’s move to the University of New Mexico in Albuquerque and focused on making tapestries, paintings, and prints for the rest of her career. Wayne gave her personal art collection to the Brodsky Center; at the time, it was the largest gift ever received by the Mason Gross School of the Arts. One of the most prolific and accomplished print artists of the 20th century, Wayne’s lithographs are in dozens of museums worldwide. The Brodsky Center: Essence and Emblems, Femfolio Plate 5 The Sages, Plate 67

Martha Wilson (American, born 1947) is a performance and visual artist who began her pioneering work investigating gender performativity in the 1970s. In 1976, she helped found Franklin Furnace to support artists choosing publishing as a democratic medium, and she is currently its founding director emerita. As a performance artist she founded and collaborated with DISBAND, the all-girl punk conceptual band of women artists who can’t play any instruments, and impersonated political figures such as Alexander M. Haig, Jr., Nancy Reagan, Barbara Bush, Tipper Gore and Donald Trump. In 2008 she had her first solo exhibition in New York at Mitchell Algus Gallery, Martha Wilson: Photo/Text Works, 1971-74. In 2009, Martha Wilson: Staging the Self, an exhibition of Wilson’s early photo and text work and one project from each of Franklin Furnace’s first 30 years, began international travel under the auspices of ICI (Independent Curators International). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Looking at the Portrait, Plate 59 The Brodsky Center: Essence and Emblems, Femfolio, Plate 5 The Sages, Plate 65 Athena Tacha (American, born in Greece, 1936) is a pioneer of site-specific sculpture and has received more than fifty commissions for public art in the United States. For more than twenty-five years she pursued her career at Oberlin College in Ohio, first as curator at the Allen Memorial Art Museum and then as a professor of sculpture. In 1989, a retrospective of more than 100 of Tacha’s sculptures, drawings and conceptual photographic pieces was held at the High Museum of Art (Atlanta). It included large color photographs of her executed commissions and was accompanied by a fully illustrated catalog. A 40-year retrospective (over 100 works) Athena Tacha: From the Public to the Private opened at the State Museum of Contemporary Art (Thessaloniki, Greece) in 2010. It presented for the first time all aspects of Tacha’s art—large outdoor commissions, body sculptures and photoworks, conceptual art and films. One of her early site specific installations can be seen in downtown, Trenton, New Jersey. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Richard Tuttle (American, born 1941) is famous for his minimalist work that explores the complexities of visual perception through a range of found materials. Tuttle was selected for the Whitney Museum of American Art’s biennial exhibitions in 1977, 1987, and 2000. The San Francisco Museum of Modern Art organized a traveling 40-year artist’s survey in 2005. Tuttle has shown extensively internationally, at the 1976, 1997, and 2001 Venice Biennales, and documenta in 1972, 1977, and 1987. His work is in the Centre Pompidou (Paris), Kunsthaus Zug (Switzerland), Museu de Arte Contemporânea de Serralves (Porto, Portugal), the Stedelijk Museum (Amsterdam), the Tate Modern (London), the Smithsonian Hirshhorn Museum and Sculpture Garden and the National Gallery of Art (Washington, DC), the Honolulu Museum of Art (Hawaii), and Metropolitan Museum of Art (New York). He was elected to the National Academy of Design in 2012 and is a member of the American Academy of Arts and Letters. The Sages, Plate 66

Fred Wilson (American, born 1954) is a New York-based interdisciplinary conceptual artist who created the groundbreaking 1992 exhibition Mining the Museum at the Maryland Historical Society (Baltimore, Maryland), interrogating the power structure that lies behind museum collections and changing museum collecting patterns and exhibition planning to include BIPOC history and artists. For his revolutionary concept, he received a MacArthur Fellowship (“genius grant”) in 1999. His recent works include elaborate chandeliers and other works made from black glass, the material referencing Black identity, but its reflective and translucent characteristics also suggesting ambiguity and complexity involved in that identity. The following museums are just a few of the dozens that hold Wilson’s work: the Museum of Modern Art, Metropolitan Museum of Art, the Whitney Museum of American Art, the Jewish Museum, the Brooklyn Museum, and the Studio Museum in Harlem (New York), the Smithsonian Museum of American Art and the National Gallery of Art (Washington, DC), Tate Modern (London), the United States Embassy (Abuja, Nigeria), and National Gallery of Victoria (Melbourne). Cultural Vitality and Social Justice, Plate 15

Anne Waldman (American, born 1945) has written more than 60 books, including Fast Speaking Woman, 2001, Vow to Poetry, 2001, and Bard, Kinetic, 2022. Her anti-war feminist epic The Iovis Trilogy: Colors in the Mechanism of Concealment—a 25-year project—won the PEN Center Award for Poetry. She is one of the founders and directors of The Poetry Project at St. Mark’s Church in-the-Bowery and a cofounder with Allen Ginsberg and Diane diPrima of the Jack Kerouac School of Disembodied Poetics at Naropa University (Boulder, Colorado), the first Buddhist-inspired university in the Western Hemisphere. She is a distinguished professor of poetics at Naropa. Waldman has been a fellow at the Rockefeller Foundation’s Bellagio Center (Italy) and the Civitella Ranieri Foundation (Umbertide, Italy), and she has held the Emily Harvey residency. She is a recipient of the Before Columbus Foundation’s Lifetime Achievement Award, a Lifetime Achievement Award from the American Book Awards, a 2013 Guggenheim Fellowship, and the Poetry Society of America’s Shelley Memorial Award. Visualizing Texts, Plate 77

Melanie Yazzie (American and member of the Navajo Nation, born 1966) explores her own Diné culture as well as Indigenous cultures globally in her work in a variety of media. She is professor of printmaking at the University of Colorado, Boulder. Yazzie’s work is in the Rhode Island School of Design Museum (Providence), the IAIA Museum of Contemporary Native Arts and the New Mexico Museum of Art (Santa Fe, New Mexico), the Kennedy Museum of Art, Ohio University (Athens, Ohio), Rhodes University (Grahamstown, South Africa), Art in Embassies, United States Department of State, and the Smithsonian National Museum of the American Indian (Washington, DC). Escaping the Unitary Linear, Plates 33 and 34

John Yau (American, born 1950) is a well-known poet and artist’s book collaborator with contemporary artists. In addition to teaching in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University, Yau writes for a number of digital art journals, such as the Brooklyn Rail and Hyperallergic. He received the Jackson Poetry Prize. The Sages, Plate 66

206 May Stevens (American, 1924–2019) rose to prominence in the 1960s as both an artist and a political activist, creating paintings inspired by the civil rights movement and opposition to the Vietnam War, most notably her Big Daddy series. She became increasingly involved in the feminist movement of the 1970s and was among the founders of the Heresies Collective and the Guerrilla Girls. She was the subject of a retrospective exhibition at the Museum of Fine Arts (Boston) and another traveling solo exhibit was seen at the Minneapolis Institute of Art (Minnesota), the Springfield Museum of Art (Missouri), and the National Museum of Women in the Arts (Washington, DC). Among the museum collections where her works can be found are the British Museum (London), the Cleveland Museum of Art (Ohio), Harvard University Art Museums (Cambridge, Massachusetts), Metropolitan Museum of Art, Museum of Modern Art, National Academy of Design, the Brooklyn Museum, and Whitney Museum of American Art (New York), and the San Francisco Museum of Modern Art (California).

207 Mickalene Thomas (American, born 1971) has a wide-ranging artistic practice, most notably collages and rhinestoneembellished paintings that address the complexity of Black female identity within the Western artistic canon. Her art practice is characterized by the way she uses materials from popular culture as an element in her paintings. That interest recently led her to design the staging for Dior’s SpringSummer Haute Couture show in Paris, 2022. Her paintings are also shaped by the history of portraiture and depictions of the female nude. Her first museum exhibition was at the Brooklyn Museum in 2013. Other solo exhibitions include George Eastman House (Rochester, New York), L’Ecole des Beaux Arts (Monaco), and Bienal Internacional de Arte Contemporáneo de Cartagena de Indias (Columbia). Thomas’s paintings can be found in the collections of the Brooklyn Museum,  Solomon R. Guggenheim Museum, Museum of Modern Art, Whitney Museum of American Art (New York), San Francisco Museum of Modern Art (California), and the Museum of Fine Arts, (Boston), among many others.

June Wayne (American, 1918–2011) founded the Tamarind Lithography Workshop in Los Angeles in 1960, establishing a training program for master printers and a model for collaborative printmaking ateliers that spurred an American renaissance of fine art printmaking. In 1970, she stepped down from directing Tamarind after arranging for the workshop’s move to the University of New Mexico in Albuquerque and focused on making tapestries, paintings, and prints for the rest of her career. Wayne gave her personal art collection to the Brodsky Center; at the time, it was the largest gift ever received by the Mason Gross School of the Arts. One of the most prolific and accomplished print artists of the 20th century, Wayne’s lithographs are in dozens of museums worldwide. The Brodsky Center: Essence and Emblems, Femfolio Plate 5 The Sages, Plate 67

Martha Wilson (American, born 1947) is a performance and visual artist who began her pioneering work investigating gender performativity in the 1970s. In 1976, she helped found Franklin Furnace to support artists choosing publishing as a democratic medium, and she is currently its founding director emerita. As a performance artist she founded and collaborated with DISBAND, the all-girl punk conceptual band of women artists who can’t play any instruments, and impersonated political figures such as Alexander M. Haig, Jr., Nancy Reagan, Barbara Bush, Tipper Gore and Donald Trump. In 2008 she had her first solo exhibition in New York at Mitchell Algus Gallery, Martha Wilson: Photo/Text Works, 1971-74. In 2009, Martha Wilson: Staging the Self, an exhibition of Wilson’s early photo and text work and one project from each of Franklin Furnace’s first 30 years, began international travel under the auspices of ICI (Independent Curators International). The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Looking at the Portrait, Plate 59 The Brodsky Center: Essence and Emblems, Femfolio, Plate 5 The Sages, Plate 65 Athena Tacha (American, born in Greece, 1936) is a pioneer of site-specific sculpture and has received more than fifty commissions for public art in the United States. For more than twenty-five years she pursued her career at Oberlin College in Ohio, first as curator at the Allen Memorial Art Museum and then as a professor of sculpture. In 1989, a retrospective of more than 100 of Tacha’s sculptures, drawings and conceptual photographic pieces was held at the High Museum of Art (Atlanta). It included large color photographs of her executed commissions and was accompanied by a fully illustrated catalog. A 40-year retrospective (over 100 works) Athena Tacha: From the Public to the Private opened at the State Museum of Contemporary Art (Thessaloniki, Greece) in 2010. It presented for the first time all aspects of Tacha’s art—large outdoor commissions, body sculptures and photoworks, conceptual art and films. One of her early site specific installations can be seen in downtown, Trenton, New Jersey. The Brodsky Center: Essence and Emblems, Femfolio, Plate 5

Richard Tuttle (American, born 1941) is famous for his minimalist work that explores the complexities of visual perception through a range of found materials. Tuttle was selected for the Whitney Museum of American Art’s biennial exhibitions in 1977, 1987, and 2000. The San Francisco Museum of Modern Art organized a traveling 40-year artist’s survey in 2005. Tuttle has shown extensively internationally, at the 1976, 1997, and 2001 Venice Biennales, and documenta in 1972, 1977, and 1987. His work is in the Centre Pompidou (Paris), Kunsthaus Zug (Switzerland), Museu de Arte Contemporânea de Serralves (Porto, Portugal), the Stedelijk Museum (Amsterdam), the Tate Modern (London), the Smithsonian Hirshhorn Museum and Sculpture Garden and the National Gallery of Art (Washington, DC), the Honolulu Museum of Art (Hawaii), and Metropolitan Museum of Art (New York). He was elected to the National Academy of Design in 2012 and is a member of the American Academy of Arts and Letters. The Sages, Plate 66

Fred Wilson (American, born 1954) is a New York-based interdisciplinary conceptual artist who created the groundbreaking 1992 exhibition Mining the Museum at the Maryland Historical Society (Baltimore, Maryland), interrogating the power structure that lies behind museum collections and changing museum collecting patterns and exhibition planning to include BIPOC history and artists. For his revolutionary concept, he received a MacArthur Fellowship (“genius grant”) in 1999. His recent works include elaborate chandeliers and other works made from black glass, the material referencing Black identity, but its reflective and translucent characteristics also suggesting ambiguity and complexity involved in that identity. The following museums are just a few of the dozens that hold Wilson’s work: the Museum of Modern Art, Metropolitan Museum of Art, the Whitney Museum of American Art, the Jewish Museum, the Brooklyn Museum, and the Studio Museum in Harlem (New York), the Smithsonian Museum of American Art and the National Gallery of Art (Washington, DC), Tate Modern (London), the United States Embassy (Abuja, Nigeria), and National Gallery of Victoria (Melbourne). Cultural Vitality and Social Justice, Plate 15

Anne Waldman (American, born 1945) has written more than 60 books, including Fast Speaking Woman, 2001, Vow to Poetry, 2001, and Bard, Kinetic, 2022. Her anti-war feminist epic The Iovis Trilogy: Colors in the Mechanism of Concealment—a 25-year project—won the PEN Center Award for Poetry. She is one of the founders and directors of The Poetry Project at St. Mark’s Church in-the-Bowery and a cofounder with Allen Ginsberg and Diane diPrima of the Jack Kerouac School of Disembodied Poetics at Naropa University (Boulder, Colorado), the first Buddhist-inspired university in the Western Hemisphere. She is a distinguished professor of poetics at Naropa. Waldman has been a fellow at the Rockefeller Foundation’s Bellagio Center (Italy) and the Civitella Ranieri Foundation (Umbertide, Italy), and she has held the Emily Harvey residency. She is a recipient of the Before Columbus Foundation’s Lifetime Achievement Award, a Lifetime Achievement Award from the American Book Awards, a 2013 Guggenheim Fellowship, and the Poetry Society of America’s Shelley Memorial Award. Visualizing Texts, Plate 77

Melanie Yazzie (American and member of the Navajo Nation, born 1966) explores her own Diné culture as well as Indigenous cultures globally in her work in a variety of media. She is professor of printmaking at the University of Colorado, Boulder. Yazzie’s work is in the Rhode Island School of Design Museum (Providence), the IAIA Museum of Contemporary Native Arts and the New Mexico Museum of Art (Santa Fe, New Mexico), the Kennedy Museum of Art, Ohio University (Athens, Ohio), Rhodes University (Grahamstown, South Africa), Art in Embassies, United States Department of State, and the Smithsonian National Museum of the American Indian (Washington, DC). Escaping the Unitary Linear, Plates 33 and 34

John Yau (American, born 1950) is a well-known poet and artist’s book collaborator with contemporary artists. In addition to teaching in the Department of Art and Design, Mason Gross School of the Arts, Rutgers University, Yau writes for a number of digital art journals, such as the Brooklyn Rail and Hyperallergic. He received the Jackson Poetry Prize. The Sages, Plate 66

208

209

Printing Processes LITHOGRAPHY

1.

2.

3.

4.

Lithography is based on the principle that water and oil reject each other. Lithography was invented in 1798 by Alois Senefelder as an easier way to print an image. Lithographs were done on limestone until the 20th century. Both water and oil are absorbed by limestone, making them a perfect substance on which to do lithographs. Today, many art lithographs and all commercial printing are done with aluminum plates rather than stones. The plates are prepared in such a way as to mimic the absorption qualities of limestone. The offset printing used for printing newspapers and magazines is a descendent of lithography. First the artist draws on a plate or stone with a greasy crayon or greasy ink. A photographic image can also be put on a plate using an emulsion that is light-sensitive and that will attract ink. A thin coating of gum arabic (a substance derived from gum trees), followed by acid, is applied to the plate’s surface, making the non-image areas desensitized to greasy ink. The amount of acid isn’t enough to bite into the stone or plate the way it does in an etching. The image area is then processed to accept greasy ink. The artist or printer waits a short period after processing, and then all the chemicals are washed off the plate. The drawing pigment is then removed also, and the plate is kept wet by continuously sponging it with water.

5.

The artist or printer then inks up the roller by passing it over ink placed on a smooth slab. When the ink is smooth and covering the entire roller, the roller is then passed over the plate. The plate is always kept wet; otherwise, the ink will stick to the entire plate, not just the drawing.

6.

The artist or printer pulls a first print, which is called a proof. The roller is passed across the plate until the drawing is inked up. Paper is laid down over the plate, and the bed is run through the press. The ink is transferred from the plate to the paper because the press delivers two pounds of pressure per square inch. After pulling the first proof, the artist or printer goes through the processing and washing out a second time. Then the drawing is stabilized, and the artist or printer can proceed to print the edition. As in all printmaking, there is one plate for each color. For instance, if there are four colors in a print, the same piece of paper will go through the press four times.

SILK SCREEN AND PHOTO PROCESS

1.

Today, many printmaking processes use photography to make the plate or screen. The first step is to make a transparency. The transparency can be a drawing done on a sheet of plastic, or it can be a film transparency made from a photograph. An enlargement of a slide or negative can be made on film rather than paper. A transparency can even be made on a photocopy machine by using a clear sheet rather than paper in the machine.

2.

The screen is then coated with an emulsion that is light-sensitive as well as forming a stencil on the screen.

3.

Once the emulsion has dried, the screen is exposed to light through the transparency. The light can reach the emulsion wherever there is a clear place on the transparency. When the light hits the emulsion, it hardens onto the screen, thus forming a stencil. Wherever the image is dark, the light cannot reach the screen, leaving open spaces in the screen where the ink can go through.

4.

After the artist or printer exposes the screen to light, the screen is washed out. Where the light hardened the emulsion, the stencil is formed. The design or image is clear.

5.

The screen is ready to print. The artist or printer places a piece of paper under the screen and puts ink into the screen. With a squeegee, the ink is pulled over the inside surface of the screen, forcing the ink through the screen onto the paper.

6.

When the screen is lifted, the drawing or photo is now on the paper.

208

209

Printing Processes LITHOGRAPHY

1.

2.

3.

4.

Lithography is based on the principle that water and oil reject each other. Lithography was invented in 1798 by Alois Senefelder as an easier way to print an image. Lithographs were done on limestone until the 20th century. Both water and oil are absorbed by limestone, making them a perfect substance on which to do lithographs. Today, many art lithographs and all commercial printing are done with aluminum plates rather than stones. The plates are prepared in such a way as to mimic the absorption qualities of limestone. The offset printing used for printing newspapers and magazines is a descendent of lithography. First the artist draws on a plate or stone with a greasy crayon or greasy ink. A photographic image can also be put on a plate using an emulsion that is light-sensitive and that will attract ink. A thin coating of gum arabic (a substance derived from gum trees), followed by acid, is applied to the plate’s surface, making the non-image areas desensitized to greasy ink. The amount of acid isn’t enough to bite into the stone or plate the way it does in an etching. The image area is then processed to accept greasy ink. The artist or printer waits a short period after processing, and then all the chemicals are washed off the plate. The drawing pigment is then removed also, and the plate is kept wet by continuously sponging it with water.

5.

The artist or printer then inks up the roller by passing it over ink placed on a smooth slab. When the ink is smooth and covering the entire roller, the roller is then passed over the plate. The plate is always kept wet; otherwise, the ink will stick to the entire plate, not just the drawing.

6.

The artist or printer pulls a first print, which is called a proof. The roller is passed across the plate until the drawing is inked up. Paper is laid down over the plate, and the bed is run through the press. The ink is transferred from the plate to the paper because the press delivers two pounds of pressure per square inch. After pulling the first proof, the artist or printer goes through the processing and washing out a second time. Then the drawing is stabilized, and the artist or printer can proceed to print the edition. As in all printmaking, there is one plate for each color. For instance, if there are four colors in a print, the same piece of paper will go through the press four times.

SILK SCREEN AND PHOTO PROCESS

1.

Today, many printmaking processes use photography to make the plate or screen. The first step is to make a transparency. The transparency can be a drawing done on a sheet of plastic, or it can be a film transparency made from a photograph. An enlargement of a slide or negative can be made on film rather than paper. A transparency can even be made on a photocopy machine by using a clear sheet rather than paper in the machine.

2.

The screen is then coated with an emulsion that is light-sensitive as well as forming a stencil on the screen.

3.

Once the emulsion has dried, the screen is exposed to light through the transparency. The light can reach the emulsion wherever there is a clear place on the transparency. When the light hits the emulsion, it hardens onto the screen, thus forming a stencil. Wherever the image is dark, the light cannot reach the screen, leaving open spaces in the screen where the ink can go through.

4.

After the artist or printer exposes the screen to light, the screen is washed out. Where the light hardened the emulsion, the stencil is formed. The design or image is clear.

5.

The screen is ready to print. The artist or printer places a piece of paper under the screen and puts ink into the screen. With a squeegee, the ink is pulled over the inside surface of the screen, forcing the ink through the screen onto the paper.

6.

When the screen is lifted, the drawing or photo is now on the paper.

210

INTAGLIO: ETCHING

RELIEF PRINTING

1.

2.

Relief printing is the oldest form of printmaking, dating back almost 2,000 years in Asia. In Europe, relief printing became popular when movable type was invented by Gutenberg. In relief printing, the artist usually works on wood or linoleum. The artist draws the image on the surface and then cuts away all the surrounding material so that the image now is raised. In color printing, there is usually a separate plate for each color, although colors can be applied to specific areas of the plate. When the cutting is finished, the artist or the printer inks a brayer by putting ink on a hard, smooth surface like glass and then rolling the brayer over the ink until the ink is spread smoothly on the brayer. The brayer then is rolled over the raised image.

3.

The paper is then laid over the image.

4.

The plate is printed by running it through a press. It can also be printed without a press by rubbing the back of the paper with a wooden spoon or another smooth object.

5.

The paper is then lifted from the plate, with the image transferred from the plate to the paper. The plate can be inked again to produce another impression.

1.

The word, intaglio, is the Italian word for a design that is scratched into metal. The process was first used to decorate metal armor in medieval Europe. Black was rubbed into the designs to make them visible. Six hundred years ago, printers realized that intaglio could be used to print onto paper. Etching is a form of intaglio that uses acid to bite the drawing into the plate. Today, metal or plastic plates are used for intaglio. The artist can scratch the drawing directly into the plate with a sharp tool, or the plate can be soaked in an acid bath to allow the acid to bite the drawing into the plate.

2.

When the artist is going to use acid to bite the drawing into a metal plate, the plate must first be coated with an acid resist. This is any coating that acid can’t attack. Nail polish is an everyday substance that is resistant to acid. Wax is another. Artists/printers coat plates with hard ground, an acid resist that is made up of asphalt (tar) and wax.

3.

The artist then scratches the image through the coating. The artist doesn’t have to dig into the plate but does have to make sure that the coating is scratched away enough to show the plate.

4.

When the drawing is finished, the plate is then placed in an acid bath. The acid used depends on the metal. With copper or zinc plates, nitric acid is often used. With nitric acid, the plate must be constantly feathered. Feathering removes the little bubbles that form on the lines where the acid bites the metal. If the bubbles aren’t removed, they will prevent the acid from reaching the plate.

5.

When the drawing is sufficiently bitten into the plate (the artist or printer can tell by putting a sharp point into the lines to see if they are deep enough), the plate is removed from the acid. The acid-resistant coating is removed using a solvent.

6.

The plate is then inked up. The artist or printer must rub ink into all the little crevices. The only way to make sure ink is in every line is to put ink over the whole surface of the plate and rub the ink into the lines.

7.

The surface of the plate is then wiped clean, leaving the ink only in the lines of the drawing.

8.

The plate is then put on the bed of an etching press, the paper is placed over the plate, and the blankets are added. The plate and paper are now ready to print. The artist or printer turns the press so that the bed of the press goes between two enormous cylinders that exert enough pressure to force the paper down into the crevices to pick up the ink.

9.

The paper is then lifted from the plate, with the drawing now transferred to the paper.

211

210

INTAGLIO: ETCHING

RELIEF PRINTING

1.

2.

Relief printing is the oldest form of printmaking, dating back almost 2,000 years in Asia. In Europe, relief printing became popular when movable type was invented by Gutenberg. In relief printing, the artist usually works on wood or linoleum. The artist draws the image on the surface and then cuts away all the surrounding material so that the image now is raised. In color printing, there is usually a separate plate for each color, although colors can be applied to specific areas of the plate. When the cutting is finished, the artist or the printer inks a brayer by putting ink on a hard, smooth surface like glass and then rolling the brayer over the ink until the ink is spread smoothly on the brayer. The brayer then is rolled over the raised image.

3.

The paper is then laid over the image.

4.

The plate is printed by running it through a press. It can also be printed without a press by rubbing the back of the paper with a wooden spoon or another smooth object.

5.

The paper is then lifted from the plate, with the image transferred from the plate to the paper. The plate can be inked again to produce another impression.

1.

The word, intaglio, is the Italian word for a design that is scratched into metal. The process was first used to decorate metal armor in medieval Europe. Black was rubbed into the designs to make them visible. Six hundred years ago, printers realized that intaglio could be used to print onto paper. Etching is a form of intaglio that uses acid to bite the drawing into the plate. Today, metal or plastic plates are used for intaglio. The artist can scratch the drawing directly into the plate with a sharp tool, or the plate can be soaked in an acid bath to allow the acid to bite the drawing into the plate.

2.

When the artist is going to use acid to bite the drawing into a metal plate, the plate must first be coated with an acid resist. This is any coating that acid can’t attack. Nail polish is an everyday substance that is resistant to acid. Wax is another. Artists/printers coat plates with hard ground, an acid resist that is made up of asphalt (tar) and wax.

3.

The artist then scratches the image through the coating. The artist doesn’t have to dig into the plate but does have to make sure that the coating is scratched away enough to show the plate.

4.

When the drawing is finished, the plate is then placed in an acid bath. The acid used depends on the metal. With copper or zinc plates, nitric acid is often used. With nitric acid, the plate must be constantly feathered. Feathering removes the little bubbles that form on the lines where the acid bites the metal. If the bubbles aren’t removed, they will prevent the acid from reaching the plate.

5.

When the drawing is sufficiently bitten into the plate (the artist or printer can tell by putting a sharp point into the lines to see if they are deep enough), the plate is removed from the acid. The acid-resistant coating is removed using a solvent.

6.

The plate is then inked up. The artist or printer must rub ink into all the little crevices. The only way to make sure ink is in every line is to put ink over the whole surface of the plate and rub the ink into the lines.

7.

The surface of the plate is then wiped clean, leaving the ink only in the lines of the drawing.

8.

The plate is then put on the bed of an etching press, the paper is placed over the plate, and the blankets are added. The plate and paper are now ready to print. The artist or printer turns the press so that the bed of the press goes between two enormous cylinders that exert enough pressure to force the paper down into the crevices to pick up the ink.

9.

The paper is then lifted from the plate, with the drawing now transferred to the paper.

211

212

213 ADDITIONAL CONTEMPORARY PRINTMAKING TECHNIQUES

HAND PAPERMAKING PROCESS 1.

Paper can be made from any cellulose fiber, but some plant fibers are better raw material than others. Most handmade paper today starts with cotton or linen fiber, but mulberry tree fiber is also used extensively, particularly by Japan. The fibers are cooked, saturated with water, manually beaten or placed in a Hollander beater.

2.

The Hollander beater is a machine that replicates hand beating. The purpose of beating is to macerate the fibers.

3.

When the fiber is beaten, it is ready to go into a large vat of water. The papermaker then gets ready to make a sheet of paper by placing a deckle over the mold (screen). The deckle gives the paper its shape.

4.

The mold and deckle are then dipped into the vat of paper pulp suspended in water. This mixture is called a slurry. The papermaker pulls the mold and deckle up through the slurry and the excess water falls through the screen leaving the paper pulp on the surface of the screen.

5.

The papermaker then removes the deckle, leaving the paper pulp on the surface of the screen. The screen is then couched. Couching means that the papermaker turns the screen over onto a felt blanket. When the screen is flat on the blanket, it is lifted off, leaving the pulp on the blanket. When the pulp dries, it becomes a piece of paper. It can also be dried by pressing the excess water out of the pulp and using electric fans.

POLYMER PLATES Polymer plates can be used either for relief or intaglio printing. The advantage of using a polymer plate is that it is free of chemicals. A polymer plate is a sheet of polymer with one side that is light-sensitive. A design on a transparent material either hand-drawn using opaque materials, or digitally created and printed, is placed on top of the sheet of polymer. It is then usually exposed to light in a controlled exposing unit, or it can even be exposed to sunlight. The exposed areas harden, and the rest stays soft and pliable. Then the plate is washed in water and rubbed with a soft brush (this is usually done in a dedicated washout unit but can be done by hand too). The brush rubs away the soft unexposed material leaving behind only the areas that were exposed. After a final baking period to fully harden the plate material, it is ready to print either by hand (see relief or intaglio printing), in a letter press or etching press.

DIGITAL PRINTING Digital printing has become an accepted printmaking technique. Archival ink cartridges and archival papers that equal the quality of ink and papers used for hand printing are available from a number of manufacturers. Large printers that can be set digitally for high resolution give results that can equal the intense blacks and saturated colors of hand printing. As with traditional printing, the edition is numbered and signed by the artist and accompanied by a documentation sheet that lists the size of the edition, the date, the inks and paper used, and additional proofs such as the printer’s proof and artist’s proofs.

212

213 ADDITIONAL CONTEMPORARY PRINTMAKING TECHNIQUES

HAND PAPERMAKING PROCESS 1.

Paper can be made from any cellulose fiber, but some plant fibers are better raw material than others. Most handmade paper today starts with cotton or linen fiber, but mulberry tree fiber is also used extensively, particularly by Japan. The fibers are cooked, saturated with water, manually beaten or placed in a Hollander beater.

2.

The Hollander beater is a machine that replicates hand beating. The purpose of beating is to macerate the fibers.

3.

When the fiber is beaten, it is ready to go into a large vat of water. The papermaker then gets ready to make a sheet of paper by placing a deckle over the mold (screen). The deckle gives the paper its shape.

4.

The mold and deckle are then dipped into the vat of paper pulp suspended in water. This mixture is called a slurry. The papermaker pulls the mold and deckle up through the slurry and the excess water falls through the screen leaving the paper pulp on the surface of the screen.

5.

The papermaker then removes the deckle, leaving the paper pulp on the surface of the screen. The screen is then couched. Couching means that the papermaker turns the screen over onto a felt blanket. When the screen is flat on the blanket, it is lifted off, leaving the pulp on the blanket. When the pulp dries, it becomes a piece of paper. It can also be dried by pressing the excess water out of the pulp and using electric fans.

POLYMER PLATES Polymer plates can be used either for relief or intaglio printing. The advantage of using a polymer plate is that it is free of chemicals. A polymer plate is a sheet of polymer with one side that is light-sensitive. A design on a transparent material either hand-drawn using opaque materials, or digitally created and printed, is placed on top of the sheet of polymer. It is then usually exposed to light in a controlled exposing unit, or it can even be exposed to sunlight. The exposed areas harden, and the rest stays soft and pliable. Then the plate is washed in water and rubbed with a soft brush (this is usually done in a dedicated washout unit but can be done by hand too). The brush rubs away the soft unexposed material leaving behind only the areas that were exposed. After a final baking period to fully harden the plate material, it is ready to print either by hand (see relief or intaglio printing), in a letter press or etching press.

DIGITAL PRINTING Digital printing has become an accepted printmaking technique. Archival ink cartridges and archival papers that equal the quality of ink and papers used for hand printing are available from a number of manufacturers. Large printers that can be set digitally for high resolution give results that can equal the intense blacks and saturated colors of hand printing. As with traditional printing, the edition is numbered and signed by the artist and accompanied by a documentation sheet that lists the size of the edition, the date, the inks and paper used, and additional proofs such as the printer’s proof and artist’s proofs.

214 INDEX Page numbers in italics refers to illustrations. 123 100 New Jersey Artists Make Prints: Fifteen Years of the Rutgers Center for Innovative Print and Paper (exhibition), 25 A Abad, Pacita, 15, 20, 22, 35, 36, 192 African Mephisto, 36, plate 38 Academy of Medicine of New Jersey, 19 activism, 31–32 anti-apartheid, 32, 37, 42, plates 8, 68 anti-consumerism, 29, 30, 32, 36, 42, plates 2, 4, 15, 39, 60 anti-oppression, 32, 33, 36, 39, plates 8, 19, 52 anti-propaganda, 36, plate 36, 39 anti-totalitarianism, 31–32, 36, 38, 40, 62 (Spero), plates 11, 53, 55, 58 anti-war, 11, 33, 36, 41, 42, 62 (Spero), plate 17, 36, 74 See also anti-colonialism; civil rights movement; feminism; anti-racism activist art, plates 1, 8, 16, 17, 27, 53, 68 activism in art, 29–32, 36, 37, 41, 44n5 African American communities, 31, 33, 61 (Ringgold), plates 16 culture, 29 African American artists in exhibition. See Birch, Willie; Booker, Chakaia; Catlett, Elizabeth; Cole, Willie; Driskell, David; Edwards, Melvin; Grauer, Gladys Barker; Hancock, Trenton Doyle; Hendricks, Barkley L.; Humphrey, Margo; Painter, Nell; Ringgold, Faith; Thomas, Mickalene; Wilson, Fred African artists in exhibition. See Anatsui, El African Caribbean artists in exhibition. See Bowling, Frank; Locke, Hew African diaspora. See diaspora AIDS. See HIV/AIDS Aljira, a Center for Contemporary Art, Newark, NJ, 23, 39, 41 Allen, Lynne, 14, 16–17, 22, 26, 36–37, 192 Black Moccasins, 37, plate 43 collaborating printer, as 74, 76 Amos, Emma, 23, 30, 58, 192 Identity from Femfolio, 59, plate 5 Anatsui, El, 18, 20, 36–37, 38, 192 Untitled 1 from Learned Paper Series, 38, plate 41 Andy Warhol Foundation for the Visual Arts, 19 anti-colonialism, 30, 33, 35, 36, 37, 42 works of art, 60 (Kozloff), plates 4, 10, 17, 27, 37, 38, 43, 68, 74 Antin, Eleanor, 30, 58, 192 Dance of Death from Femfolio, 59, plate 5 anti-racism, 29, 31, 32, 36, 38, 39 works of art, 61 (Ringgold), plates 1, 9, 13, 39, 42, 54 apartheid, 26, 32, 37, 42, 45n16 APS. See Artist Proof Studio (APS), Johannesburg, South Africa Armijo, Christopher, 61, 160–61 Arrechea, Alexandre, 32, 33, 192 Mississippi Bucket, 33, plate 16 art abstract, 59 (Azara), 60 (Hammond), 61 (Neumaier; Schneemann), 63 (Tacha), plates 20, 35, 42, 44, 48, 72, 76, 77 digital, plates 2, 54, 63

215 figurative, plates 1, 2, 3, 4, 7, 11, 13, 17, 23, 50, 54, 59, 63 installation, plates 46, 47 interactive, plates 32, 45, 47, 66, 77 large-scale, plates 1, 2, 3, 4, 12, 17, 25, 27, 29, 40, 54, 76 miniature, plates 31 photo-based 60 (Edelson), 61 (Schneemann), 62 (Semmel), plates 2, 14, 17, 22, 24, 26, 36, 37, 53, 54, 56, 59, 62 See also performance art art and music, 34–35, 37 works of art, 61 (Neumaier), plates 32, 35, 45, 46, 60 Artist Proof Studio (APS), Johannesburg, South Africa, 17, 26, 45n16 artists’ books, 37, 41, 44 plates 45, 66, 77 Arts Council of Princeton, 43 Art Students League of New York, The, 40 Asian and South Asian artists in exhibition. See Abad, Pacita; Rupnow, Michiko; Shah, Ela Avery, Eric, 42, 43, 193 Paradise Lost, 43 plate 73 Axelle Fine Art, 137 Azara, Nancy, 30, 58, 193 Broken Leaf from Femfolio, 59, plate 5 Azzarella, Joshua, 55, 58 B Bach, Penny Balkin, 44–45n7 Baltimore Museum of Art, MD ,10, 18, 19 Banerjee, Rina, 24 Barakeh, Zeina, 23, 32–33, 193 Trojan Accords, 33, plate 17 Barbata, Laura Anderson, 22 Barnet, Will, 18, 23, 40, 193 Bob, 40, plate 61 Bartow, Rick, 22, 42, 193 Rutgers Raven Bundle, Red and Rutgers Raven Bundle, Blue, 42, plates 69–70 Bassel, Milcah, 20, 23, 43, 193 Father Tongue (Genesis I), 43, plate 76 Bauer, Mary, 68 BCIE. See Brodsky Center, Rutgers University, New Brunswick, NJ: Brodsky Center for Innovative Editions (BCIE) Benglis, Lynda, 18, 36–37, 38, 194 Napeague Pond from the Bull Path series, 38, plate 44 Berman, Kim, 20, 26, 42, 194 Digging for the Truth I and II, 42, plate 68 Bibliothèque nationale de France (BnF), Paris, 19 Birch, Willie, 29, 194 Million Man March, The, 29, plate 1 Blackburn, Robert, 40 Blank, Bette, 40, 42, 194 Pink Cadillac, 42, plate 60 Blondet, Carmen Inés, 22 Booker, Chakaia, 16, 36–37, 38, 194 Impending Encounter, 38, plate 42 Bowling, Frank, 23, 40–41 Mother Approaching Sixty, 40–41, plate 62 Boyce, Sonia 23 Brodsky, Judith K., 7, 13, 14, 18, 21, 23, 30, 39 founding principles, 10–11, 27 Brodsky Center, Rutgers University, New Brunswick, NJ, 10–28, 44n4 Brodsky Center for Innovative Editions (BCIE; 2006–2017), 44n4



Rutgers Center for Innovative Print and Paper (RCIPP; 1994–2006), 15–16, 16, 23, 26 Rutgers Center for Innovative Print (RCIP; 1986–1994), 10, 13, 15 Brodsky Center structure administration, 16–17 Advisory Council, 18 funding and fundraising, 18–19 mission, 11, 17, 20, 27 Brodsky Center community outreach and engagement, 21, 23, 24–26 Art on Loan Program, 25 Brodsky Center exhibitions Annual, 15–16 organized by, 15–16, 17, 23, 25 Brodsky Center residencies, 13, 17, 21, 27 selection of artists, 21–22 International Print Fellowship, 16 National Fellowship Program for Artists of Color, 21–22 New Jersey Print and Paper Fellowship (formerly New Jersey Print Fellowship), 21, 29, 34 Brodsky Center at PAFA, Philadelphia (2017–present), 10, 16, 34, 44n4 Brown, Donna R., 120 Burko, Diane, 32, 34, 44–45n7, 195 Delaware River, 1987, 34, plate 21 C Campos-Pons, María Magdalena, 38, 195 Untitled (The Right Protection), 38, plate 53 Carter, Greg, 90 Carter, Nanette, 22 Carter, Patricia Wasson, 13 Catlett, Elizabeth, 23, 40, 41, 42, 195 Danys y Leithis (Mother and Child), 41 Gossip, 41, plate 63 Cavagnet, Kristen, 98, 144, 146, 170 Center for Feminist Art (Brooklyn Museum; formerly Elizabeth A. Sackler Center for Feminist Art), 30 Chicago, Judy, 30 Citizens Exchange Council (CEC; currently CEC ArtsLink), 19 civil rights movement, 36 Clairmont, Corwin, 34, 35, 195 Split Shield, 35, plate 27 Clarke, Christopher, 149 Clipsham, Jacqueline, 36–37, 195 Intervals and Rhythms of the Landscape, 37, plate 45 Cole, Willie, 20, 21, 23, 28, 29, 196 Silex Male, Ritual, 29, plate 2 collaborations, 24, 26, plates 32, 66, 77 College Art Association (CAA), 23, 32, 44n5 Professional Development Fellowship in Art History and in Visual Arts, 23 colonialism, 31 postcolonialism, 33 See also anti-colonialism Comer, Kristyna, 78, 82, 96, 127, 146 Crossing Over Changing Places (exhibition), 25 Crow’s Shadow Institute of the Arts (CSIA), Umatilla Indian Reservation, Pendleton, OR, 26, 33 Cuban artists in exhibition. See Arrechea, Alexandre; Campos-Pons, María Magdalena; Saavedra González, Lázaro

D Damon, Betsy, 30, 58, 196 Blue Hole from Femfolio, 59, plate 5 Dana, John Cotton, 21 Davson, Victor, 23 Deery, Gail, 14, 17, 22, 26, 38, 40 collaborating papermaker, as, 56, 101, 102, 103, 114, 115, 118, 136, 140, 166 collaborating printer, as, 54, 73 collaborating printer and papermaker, as, 100, 106–7 edition printer, as, 140 Fata Morgana and Blood Cameo, 40, plate 49 diaspora African, 14, 38, 39 Asian, 39 Latin American, 36, 38, 40 Middle Eastern, 23, 33, 42 Native American, 30, 33, 35, 36, 37, 42 North African, 34 Southeast Asian, 36 digital printing, 28, 41, 213 discrimination class, 31, plate 7 ethnicity, 10, 11 gender, 10, 11, 45n7 race, 10, 37, 38, plates 7, 16, 68 discrimination in the visual arts, surveys revealing, 10, 44n5 Dock, Eli, 68 Dolphin Press and Print, Maryland Institute College of Art (MICA), 17 Driskell, David, 12, 38, 39, 196 Young Herbalist, The, 39, plate 50 E East European artists in exhibition. See Makarevich, Igor; Nakhova, Irina economic development, 26 Edelson, Mary Beth, 30, 58, 196 Goddess Head/Soft from Femfolio, 60, plate 5 education, art, 11, 13, 15, 18, 22, 24, 26 special, 24 Edwards, Melvin, 23, 31, 32, 196 Curtain for Friends, 32, plate 6 Elagina, Elena, 20, 31 Elsayed, Dahlia, 32, 34, 197 The Tenth Month, 34, plate 20 environment, 33, 34 works of art, 59 (Azara; Damon), plates 16, 21, 25, 26, 27, 31, 33, 34 Erickson, John C., 58, 82 Ewing, Lauren, 30, 58, 197 For Magritte from Femfolio, 60, plate 5 F Fausti, Eduardo, 20, 23, 38, 40 Homage to William Carlos Williams, 23, 40, plate 51 Fedderson, Joe, 22 Federal Art Project (FAP). See Works Progress Administration (WPA) Fein, Skylar, 47 Femfolio, 29, 30–31, 32, 35, 38, 41, 42, plate 5 feminism, 27, 39 feminist art, plates 3, 5, 13, 28, 35, 44, 48, 52, 67, 75. See also Femfolio Feminist Art Movement 45n7 Feminist Art Project (TFAP), The, 30 Fertile Crescent: Gender, Art and Society (multivenue exhibitions and public programming organized by IWA), 23

214 INDEX Page numbers in italics refers to illustrations. 123 100 New Jersey Artists Make Prints: Fifteen Years of the Rutgers Center for Innovative Print and Paper (exhibition), 25 A Abad, Pacita, 15, 20, 22, 35, 36, 192 African Mephisto, 36, plate 38 Academy of Medicine of New Jersey, 19 activism, 31–32 anti-apartheid, 32, 37, 42, plates 8, 68 anti-consumerism, 29, 30, 32, 36, 42, plates 2, 4, 15, 39, 60 anti-oppression, 32, 33, 36, 39, plates 8, 19, 52 anti-propaganda, 36, plate 36, 39 anti-totalitarianism, 31–32, 36, 38, 40, 62 (Spero), plates 11, 53, 55, 58 anti-war, 11, 33, 36, 41, 42, 62 (Spero), plate 17, 36, 74 See also anti-colonialism; civil rights movement; feminism; anti-racism activist art, plates 1, 8, 16, 17, 27, 53, 68 activism in art, 29–32, 36, 37, 41, 44n5 African American communities, 31, 33, 61 (Ringgold), plates 16 culture, 29 African American artists in exhibition. See Birch, Willie; Booker, Chakaia; Catlett, Elizabeth; Cole, Willie; Driskell, David; Edwards, Melvin; Grauer, Gladys Barker; Hancock, Trenton Doyle; Hendricks, Barkley L.; Humphrey, Margo; Painter, Nell; Ringgold, Faith; Thomas, Mickalene; Wilson, Fred African artists in exhibition. See Anatsui, El African Caribbean artists in exhibition. See Bowling, Frank; Locke, Hew African diaspora. See diaspora AIDS. See HIV/AIDS Aljira, a Center for Contemporary Art, Newark, NJ, 23, 39, 41 Allen, Lynne, 14, 16–17, 22, 26, 36–37, 192 Black Moccasins, 37, plate 43 collaborating printer, as 74, 76 Amos, Emma, 23, 30, 58, 192 Identity from Femfolio, 59, plate 5 Anatsui, El, 18, 20, 36–37, 38, 192 Untitled 1 from Learned Paper Series, 38, plate 41 Andy Warhol Foundation for the Visual Arts, 19 anti-colonialism, 30, 33, 35, 36, 37, 42 works of art, 60 (Kozloff), plates 4, 10, 17, 27, 37, 38, 43, 68, 74 Antin, Eleanor, 30, 58, 192 Dance of Death from Femfolio, 59, plate 5 anti-racism, 29, 31, 32, 36, 38, 39 works of art, 61 (Ringgold), plates 1, 9, 13, 39, 42, 54 apartheid, 26, 32, 37, 42, 45n16 APS. See Artist Proof Studio (APS), Johannesburg, South Africa Armijo, Christopher, 61, 160–61 Arrechea, Alexandre, 32, 33, 192 Mississippi Bucket, 33, plate 16 art abstract, 59 (Azara), 60 (Hammond), 61 (Neumaier; Schneemann), 63 (Tacha), plates 20, 35, 42, 44, 48, 72, 76, 77 digital, plates 2, 54, 63

215 figurative, plates 1, 2, 3, 4, 7, 11, 13, 17, 23, 50, 54, 59, 63 installation, plates 46, 47 interactive, plates 32, 45, 47, 66, 77 large-scale, plates 1, 2, 3, 4, 12, 17, 25, 27, 29, 40, 54, 76 miniature, plates 31 photo-based 60 (Edelson), 61 (Schneemann), 62 (Semmel), plates 2, 14, 17, 22, 24, 26, 36, 37, 53, 54, 56, 59, 62 See also performance art art and music, 34–35, 37 works of art, 61 (Neumaier), plates 32, 35, 45, 46, 60 Artist Proof Studio (APS), Johannesburg, South Africa, 17, 26, 45n16 artists’ books, 37, 41, 44 plates 45, 66, 77 Arts Council of Princeton, 43 Art Students League of New York, The, 40 Asian and South Asian artists in exhibition. See Abad, Pacita; Rupnow, Michiko; Shah, Ela Avery, Eric, 42, 43, 193 Paradise Lost, 43 plate 73 Axelle Fine Art, 137 Azara, Nancy, 30, 58, 193 Broken Leaf from Femfolio, 59, plate 5 Azzarella, Joshua, 55, 58 B Bach, Penny Balkin, 44–45n7 Baltimore Museum of Art, MD ,10, 18, 19 Banerjee, Rina, 24 Barakeh, Zeina, 23, 32–33, 193 Trojan Accords, 33, plate 17 Barbata, Laura Anderson, 22 Barnet, Will, 18, 23, 40, 193 Bob, 40, plate 61 Bartow, Rick, 22, 42, 193 Rutgers Raven Bundle, Red and Rutgers Raven Bundle, Blue, 42, plates 69–70 Bassel, Milcah, 20, 23, 43, 193 Father Tongue (Genesis I), 43, plate 76 Bauer, Mary, 68 BCIE. See Brodsky Center, Rutgers University, New Brunswick, NJ: Brodsky Center for Innovative Editions (BCIE) Benglis, Lynda, 18, 36–37, 38, 194 Napeague Pond from the Bull Path series, 38, plate 44 Berman, Kim, 20, 26, 42, 194 Digging for the Truth I and II, 42, plate 68 Bibliothèque nationale de France (BnF), Paris, 19 Birch, Willie, 29, 194 Million Man March, The, 29, plate 1 Blackburn, Robert, 40 Blank, Bette, 40, 42, 194 Pink Cadillac, 42, plate 60 Blondet, Carmen Inés, 22 Booker, Chakaia, 16, 36–37, 38, 194 Impending Encounter, 38, plate 42 Bowling, Frank, 23, 40–41 Mother Approaching Sixty, 40–41, plate 62 Boyce, Sonia 23 Brodsky, Judith K., 7, 13, 14, 18, 21, 23, 30, 39 founding principles, 10–11, 27 Brodsky Center, Rutgers University, New Brunswick, NJ, 10–28, 44n4 Brodsky Center for Innovative Editions (BCIE; 2006–2017), 44n4



Rutgers Center for Innovative Print and Paper (RCIPP; 1994–2006), 15–16, 16, 23, 26 Rutgers Center for Innovative Print (RCIP; 1986–1994), 10, 13, 15 Brodsky Center structure administration, 16–17 Advisory Council, 18 funding and fundraising, 18–19 mission, 11, 17, 20, 27 Brodsky Center community outreach and engagement, 21, 23, 24–26 Art on Loan Program, 25 Brodsky Center exhibitions Annual, 15–16 organized by, 15–16, 17, 23, 25 Brodsky Center residencies, 13, 17, 21, 27 selection of artists, 21–22 International Print Fellowship, 16 National Fellowship Program for Artists of Color, 21–22 New Jersey Print and Paper Fellowship (formerly New Jersey Print Fellowship), 21, 29, 34 Brodsky Center at PAFA, Philadelphia (2017–present), 10, 16, 34, 44n4 Brown, Donna R., 120 Burko, Diane, 32, 34, 44–45n7, 195 Delaware River, 1987, 34, plate 21 C Campos-Pons, María Magdalena, 38, 195 Untitled (The Right Protection), 38, plate 53 Carter, Greg, 90 Carter, Nanette, 22 Carter, Patricia Wasson, 13 Catlett, Elizabeth, 23, 40, 41, 42, 195 Danys y Leithis (Mother and Child), 41 Gossip, 41, plate 63 Cavagnet, Kristen, 98, 144, 146, 170 Center for Feminist Art (Brooklyn Museum; formerly Elizabeth A. Sackler Center for Feminist Art), 30 Chicago, Judy, 30 Citizens Exchange Council (CEC; currently CEC ArtsLink), 19 civil rights movement, 36 Clairmont, Corwin, 34, 35, 195 Split Shield, 35, plate 27 Clarke, Christopher, 149 Clipsham, Jacqueline, 36–37, 195 Intervals and Rhythms of the Landscape, 37, plate 45 Cole, Willie, 20, 21, 23, 28, 29, 196 Silex Male, Ritual, 29, plate 2 collaborations, 24, 26, plates 32, 66, 77 College Art Association (CAA), 23, 32, 44n5 Professional Development Fellowship in Art History and in Visual Arts, 23 colonialism, 31 postcolonialism, 33 See also anti-colonialism Comer, Kristyna, 78, 82, 96, 127, 146 Crossing Over Changing Places (exhibition), 25 Crow’s Shadow Institute of the Arts (CSIA), Umatilla Indian Reservation, Pendleton, OR, 26, 33 Cuban artists in exhibition. See Arrechea, Alexandre; Campos-Pons, María Magdalena; Saavedra González, Lázaro

D Damon, Betsy, 30, 58, 196 Blue Hole from Femfolio, 59, plate 5 Dana, John Cotton, 21 Davson, Victor, 23 Deery, Gail, 14, 17, 22, 26, 38, 40 collaborating papermaker, as, 56, 101, 102, 103, 114, 115, 118, 136, 140, 166 collaborating printer, as, 54, 73 collaborating printer and papermaker, as, 100, 106–7 edition printer, as, 140 Fata Morgana and Blood Cameo, 40, plate 49 diaspora African, 14, 38, 39 Asian, 39 Latin American, 36, 38, 40 Middle Eastern, 23, 33, 42 Native American, 30, 33, 35, 36, 37, 42 North African, 34 Southeast Asian, 36 digital printing, 28, 41, 213 discrimination class, 31, plate 7 ethnicity, 10, 11 gender, 10, 11, 45n7 race, 10, 37, 38, plates 7, 16, 68 discrimination in the visual arts, surveys revealing, 10, 44n5 Dock, Eli, 68 Dolphin Press and Print, Maryland Institute College of Art (MICA), 17 Driskell, David, 12, 38, 39, 196 Young Herbalist, The, 39, plate 50 E East European artists in exhibition. See Makarevich, Igor; Nakhova, Irina economic development, 26 Edelson, Mary Beth, 30, 58, 196 Goddess Head/Soft from Femfolio, 60, plate 5 education, art, 11, 13, 15, 18, 22, 24, 26 special, 24 Edwards, Melvin, 23, 31, 32, 196 Curtain for Friends, 32, plate 6 Elagina, Elena, 20, 31 Elsayed, Dahlia, 32, 34, 197 The Tenth Month, 34, plate 20 environment, 33, 34 works of art, 59 (Azara; Damon), plates 16, 21, 25, 26, 27, 31, 33, 34 Erickson, John C., 58, 82 Ewing, Lauren, 30, 58, 197 For Magritte from Femfolio, 60, plate 5 F Fausti, Eduardo, 20, 23, 38, 40 Homage to William Carlos Williams, 23, 40, plate 51 Fedderson, Joe, 22 Federal Art Project (FAP). See Works Progress Administration (WPA) Fein, Skylar, 47 Femfolio, 29, 30–31, 32, 35, 38, 41, 42, plate 5 feminism, 27, 39 feminist art, plates 3, 5, 13, 28, 35, 44, 48, 52, 67, 75. See also Femfolio Feminist Art Movement 45n7 Feminist Art Project (TFAP), The, 30 Fertile Crescent: Gender, Art and Society (multivenue exhibitions and public programming organized by IWA), 23

216 FOCUS. See Philadelphia Focuses on Women in the Visual Arts (FOCUS) Formica, Mary Jane, 68 Forouhar, Parastou, 20, 23, 42, 197 Water Mark, 42, plate 74 Foti, Eileen M., 14, 15, 17, 26, 42, 43, 197 collaborating printer, as, 56, 57, 76, 77, 84, 92, 93, 108, 115, 117, 124, 125, 138, 139, 152, 156, 160–61, 172 edition printer, as, 74, 92, 140 Relic/Wings, 43, plate 71 G Garcia, Ofelia, 21 Garrard, Mary, 45n7 Garza, Carmen Lomas, 22 gender, 13, 23, 62 (Snyder) gender, nonconforming, 10, 11, 13, 27, 60 (Hammond), plates 52, 59 Geraldine R. Dodge Foundation, 19, 25 Gilliam, Sam, 23 Golub, Leon, 23, 31, 32, 197 White Squad, 32, plate 8 Goncharov, Kathy, 16, 17 Gould, Melissa, 32, 33, 198 Neu-York, 33, plate 19 Graphic Unconscious, The (five-sited exhibition), 39 Grant, David, 25 Grauer, Gladys Barker, 31, 198 I Wish the Rent Was Heaven Sent, 31, plate 7 Green, Renée, 20 Guertin, Robbie, 149 Gutierrez, Marina, 29, 30, 198 Reaching Mut, 30, plate 3 H Haberman, William, 26 Hammond, Harmony, 30, 58, 198 Double Elegy from Femfolio, 60, plate 5 Hancock, Trenton Doyle, 31, 198 Fix (portfolio), 31, plate 9 Harley, Roberta, 34, 198 Her Best Dress, 34, plate 28 Harris, Ann Sutherland, 45n7 Heldrich Hotel and Conference Center, New Brunswick, NJ, 15 Hemminghaus, Randy, 17, 42, 43, 198 collaborating printer, as, 66, 70, 72, 73, 74, 78, 82, 83, 94, 96, 98, 114, 127, 132, 136, 142, 144, 146, 148, 150, 151, 154, 158, 165, 170 collaborating printer at Galamander Press, as, 149 edition printer, as, 92, 127, 137, 140, 146, 150, 170 Fabric Destroyed by Inner Lining, 43, plate 72 Hendricks, Barkley L., 38, 39, 199 Iconic Dexter, 39, plate 54 Higgins, Jonathan, 73, 87, 112, 140 history, 33, 34, 36, 37 works of art, plates 17, 19, 24, 25, 36, 43, 51 history, modern and contemporary, 29, 32, 33, 36, 39, 42 works of art, 61 (Ringgold), plates 1, 8, 12, 14, 16, 26, 37, 56, 68, 74 HIV/AIDS, 23, 60 (Hammond), plate 73 Holocaust, 33, plates 12, 19 How American Women Invented Postmodernism, 1970-1975 (exhibition), 30 Humphrey, Margo, 15, 22, 43, 199, The History of Her Life Written Across Her Face, 15, 43, plate 78 Hunterdon Art Museum, Clinton, NJ, 21 Hurricane Katrina, 33, 34 Hutcheson, John, 16, 68, 90

217 I immigration, 34, plates 12, 20, 56, 74 Indigenous peoples, 10, 19, 20, 22 art and culture, 30, 33, 35, 36, 37, plates 4, 18, 24, 27, 33, 34, 37, 39, 42, 69–70 innovation, 11, 27, 34–35, 36–38 innovative techniques, 36–38 works of art, plates 1, 2, 4, 10, 25, 26, 28, 29, 30, 31, 32, 33, 34, 35, 41, 42, 43, 44, 47, 48, 53, 54, 56, 58, 64, 66, 75, 77, 79 Institute for Advanced Study, NJ, 23 InIVA (Institute for International Visual Arts, London UK), 23 Institute for Women in the Arts (IWA). See Rutgers University, New Brunswick, NJ: Center for Women in the Arts and Humanities (CWAH) intaglio, 211, 213 Islamic Revolution, 42 IRW. See Rutgers University, New Brunswick, NJ: Institute for Research on Women (IRW) IWA. See Rutgers University: Center for Women in the Arts and Humanities (CWAH) J Jersey City Museum, NJ, 23 Johnson & Johnson (J&J), 17, 19, 24, 45n16 Julien, Isaac, 23 K Karma Foundation, Princeton, NJ, 19 Kass, Deborah, 38, 39, 199 Chairman Ma from The Warhol Project, 39, plate 52 Keating, Marilyn, 42, 43, 199 Giving Fate the Finger, 43, plate 75 Kennell, Don, 34, 35, 199 Bird in Hand, 35, plate 29 Kentridge, William, 18, 20, 37, 199 A Cat in the Meat Trade; Étant Donné; Larder, Melancholia; Memento Mori; Still Life from Stereoscopic Suite, 37, plate 47 Kim, Byron, 34, 35, 200 Blue Kite, 35, plate 30 Kozloff, Joyce, 30, 58, 200 Sugar Plantation from Femfolio, 60, plate 5 L landscape, real and imagined, 32–34, works of art, 59 (Damon), 61 (Ringgold), plates 16, 18, 21, 22, 23, 24, 44, 68 Latin American artists in exhibition. See Gutierrez, Marina Lavadour, James, 22, 32, 33, 200 Untitled, 33, plate 18 Library of Congress, Washington, DC, 19 life circumstances, 42–43 works of art, 60 (Hammond), plates 19, 26, 29, 36, 60, 68, 73, 74, 75, 78 life stages, 42–43 works of art, 59 (Antin), 62 (Semmel), 63 (Stevens), plates 5, 29, 49, 57, 60, 62, 64, 65, 68, 69–70, 72, 74, 75 Ligon, Glenn, 23 lithography, 208 Locke, Hew, 20, 23, 31, 200 Prize, The, 31, plate 10 Lollar, Tom, 16, 17 Longfish, George, 22, 35, 36, 200 Modern Times, 36, plate 39

López, Yolanda, 22 Loughney, Paul, 148 Lower East Side Printshop, New York, NY, 25 Luster, Deborah, 32, 34, 200 Tooth for an Eye, Ledger 05-15 Location. 1200 block of Touro Street (7th Ward) Date(s). September 12, 1996 Name(s). Artiero Alvear (55) Notes. Hit in head with tire iron. Date(s). November 27, 2003 6:30 a.m. Name(s). Leonard Mitchell (49) Notes. Gunshot to torso. Lying on sidewalk, 34, plate 26 Lyness, Kathryn, 87, 137, M Madsen, Barbara, 16 Makarevich, Igor, 20, 31–32 Diary, 31-32, plate 11 maps, 60 (Kozloff), plates 15, 19, 20 Marks, China, 26 Marshall, Kerry James, 20, 23 Mason Gross School of the Arts (MGSA), Rutgers University, New Brunswick, NJ Rutgers Print Collaborative, 16 Department of Art and Design (formerly Department of Visual Arts), 13, 32 Department of Art and Design faculty and staff in exhibition. See Allen, Lynne; Amos, Emma; Deery, Gail; Edwards, Melvin; Ewing, Lauren; Foti, Eileen M.; Golub, Leon; Hemminghaus, Randy; McKeown, Anne Q.; Neumaier, Diane; Orenstein, Philip; Schneemann, Carolee; Semmel, Joan; Yau, John Department of Art and Design MFA graduates in exhibition. See Bassel, Milcah; Deery, Gail; Fausti, Eduardo; Harley, Roberta; Sánchez, Juan; Snyder, Joan Mayo, Marti, 16 McEneaney, Sarah, 32, 34, 201 Paint Print, 34, plate 23 McKeown, Anne, 16, 17, 18, 28 collaborating papermaker, as, 88, 96, 120, 121, 123, 128, 154, 165, 168, 173 collaborating printer, as, 150, 164 McKeown, Anne Q., 35, 201 Hummingbird Conversation, 35, plate 31 Mesa-Bains, Amalia, 22, 32, 33, 201 Private Landscape/Public Territories, 33, plate 24 Mexican American artists in exhibition. See Mesa-Bains, Amalia Miles, Rosemary, 14 Medical Society of New Jersey, 23 Metropolitan Museum of Art, New York, NY, 19 Mid Atlantic Arts Foundation, 19 Middle Eastern artists in exhibition. See Barakeh, Zeina; Forouhar, Parastou Min, Yong Soon, 20, 22, 38, 39, 201 Talking Herstory, 39, plate 56 Montclair Art Museum, NJ, 21 Morsiani, Paola, 16 Myth of Creation (portfolio), 26 N Nakhova, Irina, 38, 40, 202 Untitled, 40, plate 55 narratives, 61 (Ringgold), plates, 9, 11, 13, 17, 25, 28, 78 National Endowment for the Arts (NEA), 19, 22, 23 National Gallery of Australia (NGA; Canberra), 15, 19 National Museum of Women in the Arts, Washington, DC, 19

Native American artists in exhibition. See Allen, Lynne; Bartow, Rick; Clairmont, Corwin; Lavadour, James; Longfish, George; Smith, Jaune Quick-To-See; Yazzie, Melanie Native American Nations, 22, 35 Confederated Salish and Kootenai Tribes, 22, 30 Confederated Tribes of the Colville Reservation, 22 Confederated Tribes of the Umatilla Indian Reservation, 22, 33 Navajo Nation (Diné), 22, 35 Seneca Nation of Indians, 22, 36 Standing Rock Sioux Tribe, 37 Tuscarora Nation, 22 Wiyot Tribe, 22, 42 Ndlandla, Nkosinathi, 88 Neumaier, Diane, 30, 58, 202 Toccata from Femfolio, 61, plate 5 Newark Museum of Art, The, 19, 21 Newark Public Library, NJ, 21 New Jersey Council for the Humanities, 19 New Jersey Department of Higher Education, 13 New Jersey State Council on the Arts, 19, 21 Arts Education Special Initiative (AESI) grants 24 New Jersey State Museum, Trenton, 21 New York Public Library, 19 North Brunswick High School National Art Honor Society (NJ), 24 Notman, Kate (Palisades Press), 68 Noyes Museum of Art, Hammonton, NJ (currently Noyes Museum of Art of Stockton University), 21 O Olin, Ferris, 13, 23, 30, 45n9 O’Neill, Kevin, 24, 34, 35, 202 Ramones Commemorative Plates (with Karisa Senavitis), 35, plate 32 O’Neill, María de Mater, 22 Orenstein, Philip, 31, 32, 202 The Big Cheese Part 1; Big Cheese, Bow (USA); Big Cheese, Stern (Europe), 32, plate 12 Orlando, Steve A., 164 Osorio, Pepón, 20, 27, 36–37, 38, 202 Canción de cuna para una madre (Lullaby for Mother), 38, plate 46 Ossouli, Farrah, 25 P Painter, Nell, 40, 42, 202 Wise Woman Disappears, 42, plate 64 Paolo, Dot, 32, 34, 203 Claes Pin Chair 34, plate 22 paper sculpture and relief, plates 10, 27, 29, 31, 40, 42, 43, 44, 66, 75 papermaking, 26, 212, plates 1, 4, 25, 28, 30, 32, 33, 34, 37, 41, 48, 79 Pattern and Decoration (art movement), 35 Pennsylvania Academy of Fine Arts (PAFA), 10, 16, 34, 39, 44n4 performance art, 25, 36, plates 25, 30, 38 Pew Charitable Trusts, The, 19, 25 Philadelphia Focuses on Women in the Visual Arts (FOCUS), 44–45n7 Philadelphia Museum of Art, PA, 19 Philagrafika 2010 (festival), 39 Pitts, Rebecca, 24 polymer plates, 213 portraits, 38-40 works of art, 62 (Semmel), 62 (Sleigh), plates 3, 9, 13, 14, 32, 35, 37, 43, 46, 49, 51, 52, 54, 56, 58, 59, 61, 62, 66 portraits, self, 32, 39, 40, 42 works of art, 59 (Amos), 60 (Edelson), 62, (Semmel), 63 (Wilson), plates 2, 3, 4, 11, 23, 28, 39, 49, 50, 53, 56, 57, 64, 78

216 FOCUS. See Philadelphia Focuses on Women in the Visual Arts (FOCUS) Formica, Mary Jane, 68 Forouhar, Parastou, 20, 23, 42, 197 Water Mark, 42, plate 74 Foti, Eileen M., 14, 15, 17, 26, 42, 43, 197 collaborating printer, as, 56, 57, 76, 77, 84, 92, 93, 108, 115, 117, 124, 125, 138, 139, 152, 156, 160–61, 172 edition printer, as, 74, 92, 140 Relic/Wings, 43, plate 71 G Garcia, Ofelia, 21 Garrard, Mary, 45n7 Garza, Carmen Lomas, 22 gender, 13, 23, 62 (Snyder) gender, nonconforming, 10, 11, 13, 27, 60 (Hammond), plates 52, 59 Geraldine R. Dodge Foundation, 19, 25 Gilliam, Sam, 23 Golub, Leon, 23, 31, 32, 197 White Squad, 32, plate 8 Goncharov, Kathy, 16, 17 Gould, Melissa, 32, 33, 198 Neu-York, 33, plate 19 Graphic Unconscious, The (five-sited exhibition), 39 Grant, David, 25 Grauer, Gladys Barker, 31, 198 I Wish the Rent Was Heaven Sent, 31, plate 7 Green, Renée, 20 Guertin, Robbie, 149 Gutierrez, Marina, 29, 30, 198 Reaching Mut, 30, plate 3 H Haberman, William, 26 Hammond, Harmony, 30, 58, 198 Double Elegy from Femfolio, 60, plate 5 Hancock, Trenton Doyle, 31, 198 Fix (portfolio), 31, plate 9 Harley, Roberta, 34, 198 Her Best Dress, 34, plate 28 Harris, Ann Sutherland, 45n7 Heldrich Hotel and Conference Center, New Brunswick, NJ, 15 Hemminghaus, Randy, 17, 42, 43, 198 collaborating printer, as, 66, 70, 72, 73, 74, 78, 82, 83, 94, 96, 98, 114, 127, 132, 136, 142, 144, 146, 148, 150, 151, 154, 158, 165, 170 collaborating printer at Galamander Press, as, 149 edition printer, as, 92, 127, 137, 140, 146, 150, 170 Fabric Destroyed by Inner Lining, 43, plate 72 Hendricks, Barkley L., 38, 39, 199 Iconic Dexter, 39, plate 54 Higgins, Jonathan, 73, 87, 112, 140 history, 33, 34, 36, 37 works of art, plates 17, 19, 24, 25, 36, 43, 51 history, modern and contemporary, 29, 32, 33, 36, 39, 42 works of art, 61 (Ringgold), plates 1, 8, 12, 14, 16, 26, 37, 56, 68, 74 HIV/AIDS, 23, 60 (Hammond), plate 73 Holocaust, 33, plates 12, 19 How American Women Invented Postmodernism, 1970-1975 (exhibition), 30 Humphrey, Margo, 15, 22, 43, 199, The History of Her Life Written Across Her Face, 15, 43, plate 78 Hunterdon Art Museum, Clinton, NJ, 21 Hurricane Katrina, 33, 34 Hutcheson, John, 16, 68, 90

217 I immigration, 34, plates 12, 20, 56, 74 Indigenous peoples, 10, 19, 20, 22 art and culture, 30, 33, 35, 36, 37, plates 4, 18, 24, 27, 33, 34, 37, 39, 42, 69–70 innovation, 11, 27, 34–35, 36–38 innovative techniques, 36–38 works of art, plates 1, 2, 4, 10, 25, 26, 28, 29, 30, 31, 32, 33, 34, 35, 41, 42, 43, 44, 47, 48, 53, 54, 56, 58, 64, 66, 75, 77, 79 Institute for Advanced Study, NJ, 23 InIVA (Institute for International Visual Arts, London UK), 23 Institute for Women in the Arts (IWA). See Rutgers University, New Brunswick, NJ: Center for Women in the Arts and Humanities (CWAH) intaglio, 211, 213 Islamic Revolution, 42 IRW. See Rutgers University, New Brunswick, NJ: Institute for Research on Women (IRW) IWA. See Rutgers University: Center for Women in the Arts and Humanities (CWAH) J Jersey City Museum, NJ, 23 Johnson & Johnson (J&J), 17, 19, 24, 45n16 Julien, Isaac, 23 K Karma Foundation, Princeton, NJ, 19 Kass, Deborah, 38, 39, 199 Chairman Ma from The Warhol Project, 39, plate 52 Keating, Marilyn, 42, 43, 199 Giving Fate the Finger, 43, plate 75 Kennell, Don, 34, 35, 199 Bird in Hand, 35, plate 29 Kentridge, William, 18, 20, 37, 199 A Cat in the Meat Trade; Étant Donné; Larder, Melancholia; Memento Mori; Still Life from Stereoscopic Suite, 37, plate 47 Kim, Byron, 34, 35, 200 Blue Kite, 35, plate 30 Kozloff, Joyce, 30, 58, 200 Sugar Plantation from Femfolio, 60, plate 5 L landscape, real and imagined, 32–34, works of art, 59 (Damon), 61 (Ringgold), plates 16, 18, 21, 22, 23, 24, 44, 68 Latin American artists in exhibition. See Gutierrez, Marina Lavadour, James, 22, 32, 33, 200 Untitled, 33, plate 18 Library of Congress, Washington, DC, 19 life circumstances, 42–43 works of art, 60 (Hammond), plates 19, 26, 29, 36, 60, 68, 73, 74, 75, 78 life stages, 42–43 works of art, 59 (Antin), 62 (Semmel), 63 (Stevens), plates 5, 29, 49, 57, 60, 62, 64, 65, 68, 69–70, 72, 74, 75 Ligon, Glenn, 23 lithography, 208 Locke, Hew, 20, 23, 31, 200 Prize, The, 31, plate 10 Lollar, Tom, 16, 17 Longfish, George, 22, 35, 36, 200 Modern Times, 36, plate 39

López, Yolanda, 22 Loughney, Paul, 148 Lower East Side Printshop, New York, NY, 25 Luster, Deborah, 32, 34, 200 Tooth for an Eye, Ledger 05-15 Location. 1200 block of Touro Street (7th Ward) Date(s). September 12, 1996 Name(s). Artiero Alvear (55) Notes. Hit in head with tire iron. Date(s). November 27, 2003 6:30 a.m. Name(s). Leonard Mitchell (49) Notes. Gunshot to torso. Lying on sidewalk, 34, plate 26 Lyness, Kathryn, 87, 137, M Madsen, Barbara, 16 Makarevich, Igor, 20, 31–32 Diary, 31-32, plate 11 maps, 60 (Kozloff), plates 15, 19, 20 Marks, China, 26 Marshall, Kerry James, 20, 23 Mason Gross School of the Arts (MGSA), Rutgers University, New Brunswick, NJ Rutgers Print Collaborative, 16 Department of Art and Design (formerly Department of Visual Arts), 13, 32 Department of Art and Design faculty and staff in exhibition. See Allen, Lynne; Amos, Emma; Deery, Gail; Edwards, Melvin; Ewing, Lauren; Foti, Eileen M.; Golub, Leon; Hemminghaus, Randy; McKeown, Anne Q.; Neumaier, Diane; Orenstein, Philip; Schneemann, Carolee; Semmel, Joan; Yau, John Department of Art and Design MFA graduates in exhibition. See Bassel, Milcah; Deery, Gail; Fausti, Eduardo; Harley, Roberta; Sánchez, Juan; Snyder, Joan Mayo, Marti, 16 McEneaney, Sarah, 32, 34, 201 Paint Print, 34, plate 23 McKeown, Anne, 16, 17, 18, 28 collaborating papermaker, as, 88, 96, 120, 121, 123, 128, 154, 165, 168, 173 collaborating printer, as, 150, 164 McKeown, Anne Q., 35, 201 Hummingbird Conversation, 35, plate 31 Mesa-Bains, Amalia, 22, 32, 33, 201 Private Landscape/Public Territories, 33, plate 24 Mexican American artists in exhibition. See Mesa-Bains, Amalia Miles, Rosemary, 14 Medical Society of New Jersey, 23 Metropolitan Museum of Art, New York, NY, 19 Mid Atlantic Arts Foundation, 19 Middle Eastern artists in exhibition. See Barakeh, Zeina; Forouhar, Parastou Min, Yong Soon, 20, 22, 38, 39, 201 Talking Herstory, 39, plate 56 Montclair Art Museum, NJ, 21 Morsiani, Paola, 16 Myth of Creation (portfolio), 26 N Nakhova, Irina, 38, 40, 202 Untitled, 40, plate 55 narratives, 61 (Ringgold), plates, 9, 11, 13, 17, 25, 28, 78 National Endowment for the Arts (NEA), 19, 22, 23 National Gallery of Australia (NGA; Canberra), 15, 19 National Museum of Women in the Arts, Washington, DC, 19

Native American artists in exhibition. See Allen, Lynne; Bartow, Rick; Clairmont, Corwin; Lavadour, James; Longfish, George; Smith, Jaune Quick-To-See; Yazzie, Melanie Native American Nations, 22, 35 Confederated Salish and Kootenai Tribes, 22, 30 Confederated Tribes of the Colville Reservation, 22 Confederated Tribes of the Umatilla Indian Reservation, 22, 33 Navajo Nation (Diné), 22, 35 Seneca Nation of Indians, 22, 36 Standing Rock Sioux Tribe, 37 Tuscarora Nation, 22 Wiyot Tribe, 22, 42 Ndlandla, Nkosinathi, 88 Neumaier, Diane, 30, 58, 202 Toccata from Femfolio, 61, plate 5 Newark Museum of Art, The, 19, 21 Newark Public Library, NJ, 21 New Jersey Council for the Humanities, 19 New Jersey Department of Higher Education, 13 New Jersey State Council on the Arts, 19, 21 Arts Education Special Initiative (AESI) grants 24 New Jersey State Museum, Trenton, 21 New York Public Library, 19 North Brunswick High School National Art Honor Society (NJ), 24 Notman, Kate (Palisades Press), 68 Noyes Museum of Art, Hammonton, NJ (currently Noyes Museum of Art of Stockton University), 21 O Olin, Ferris, 13, 23, 30, 45n9 O’Neill, Kevin, 24, 34, 35, 202 Ramones Commemorative Plates (with Karisa Senavitis), 35, plate 32 O’Neill, María de Mater, 22 Orenstein, Philip, 31, 32, 202 The Big Cheese Part 1; Big Cheese, Bow (USA); Big Cheese, Stern (Europe), 32, plate 12 Orlando, Steve A., 164 Osorio, Pepón, 20, 27, 36–37, 38, 202 Canción de cuna para una madre (Lullaby for Mother), 38, plate 46 Ossouli, Farrah, 25 P Painter, Nell, 40, 42, 202 Wise Woman Disappears, 42, plate 64 Paolo, Dot, 32, 34, 203 Claes Pin Chair 34, plate 22 paper sculpture and relief, plates 10, 27, 29, 31, 40, 42, 43, 44, 66, 75 papermaking, 26, 212, plates 1, 4, 25, 28, 30, 32, 33, 34, 37, 41, 48, 79 Pattern and Decoration (art movement), 35 Pennsylvania Academy of Fine Arts (PAFA), 10, 16, 34, 39, 44n4 performance art, 25, 36, plates 25, 30, 38 Pew Charitable Trusts, The, 19, 25 Philadelphia Focuses on Women in the Visual Arts (FOCUS), 44–45n7 Philadelphia Museum of Art, PA, 19 Philagrafika 2010 (festival), 39 Pitts, Rebecca, 24 polymer plates, 213 portraits, 38-40 works of art, 62 (Semmel), 62 (Sleigh), plates 3, 9, 13, 14, 32, 35, 37, 43, 46, 49, 51, 52, 54, 56, 58, 59, 61, 62, 66 portraits, self, 32, 39, 40, 42 works of art, 59 (Amos), 60 (Edelson), 62, (Semmel), 63 (Wilson), plates 2, 3, 4, 11, 23, 28, 39, 49, 50, 53, 56, 57, 64, 78

218 Potter, Melissa, 13 poverty, 31, 33, plates 7, 16 Princeton Public Libraries, NJ, 23 Print Center, The, Philadelphia, PA, 21, 25 Print Club of New York, The, 23, 41 printmaking, 13–14, 23, 26, 22 printing processes, 208–13 print shops. See Artist Proof Studio (APS), Johannesburg, South Africa; Brodsky Center, Rutgers University, New Brunswick, NJ; Crow’s Shadow Institute of the Arts (CSIA), Umatilla Indian Reservation, Pendleton, OR; Dolphin Press and Print, Maryland Institute College of Art (MICA; Baltimore); Lower East Side Printshop, New York, NY; Print Center, The, Philadelphia, PA; Pyramid Atlantic,Riverdale, MD; Tamarind Lithography Workshop, Los Angeles, CA) Puerto Rican artists in exhibition. See Osorio, Pepón; Rodríguez Calero, Gloria; Sánchez, Juan Pyramid Atlantic, Riverdale, MD (currently Pyramid Atlantic Art Center, Hyattsville, MD), 25 Q Queens Museum, Flushing Meadows Corona Park, NY, 34 R racism, 37. See also anti-racism Raven, Arlene, 30 RCIP. See Brodsky Center, Rutgers University, New Brunswick, NJ: Rutgers Center for Innovative Print (RCIP) RCIPP. See Brodsky Center, Rutgers University, New Brunswick, NJ: Rutgers Center for Innovative Print and Paper (RCIPP) Reilly, Maura, 30 relief printing, 210, 213, plates 16, 21, 51 Richard Florsheim Art Fund, 19 Riley, Duke, 32, 34, 203 Morituri Te Salutant (Those Who Are about to Die Salute You), 34, plate 25 Ringgold, Faith, 23, 30, 31, 32, 58, 203 Coming to Jones Road: Under a Blood Red Sky #8 from Femfolio, 61, plate 5 National Fellowship Program for Artists of Color, 21–22 Sunflower Quilting Bee at Arles, The, 32, plate 13 Rivington Place Portfolio, 23, plate 10 Rodríguez Calero, Gloria, 20, 31, 32, 203 Ex-Voto, 32, plate 14 Rupnow, Michiko, 35, 36, 203 War Monument I (1-4), 36, plate 36 Rutgers Center for Innovative Print (RCIP). See under Brodsky Center, Rutgers University, New Brunswick, NJ Rutgers Center for Innovative Print and Paper (RCIPP). See under Brodsky Center, Rutgers University, New Brunswick, NJ Rutgers University, New Brunswick, NJ, 11, 16, 20 Art History Department, 13, 15 Brodsky Center. See Brodsky Center, Rutgers University, New Brunswick, NJ Center for American Women in Politics (CWAP), 13 Center for Latino/a Arts and Culture (currently Center for Latino Arts and Culture), 23, 33 Center for Women in the Arts and Humanities (CWAH) (formerly Institute for Women and Art, IWA), 45n8, 45n14 Douglass Residential College (formerly known as Douglass College and New Jersey College for Women, 11, 13, 15, 25 Institute for Research on Women (IRW), 13, 45n9 Mason Gross School of the Arts (MGSA). See Mason Gross School of the Arts (MGSA), Rutgers University, New Brunswick, NJ

219 Women’s Studies Program (currently Department of Women, Gender, and Sexuality Studies), 13 Rutgers University Foundation, 24 Rutgers University Libraries. 9 Mary H. Dana Women Artists Series (formerly Women Artists Series), 11 S Saavedra González, Lázaro, 25, 38, 40, 203 Karl Marx, 40, plate 58 Sánchez, Juan, 35, 36, 204 Once We Were Warriors, 36, plate 37 Schapiro, Miriam, 15, 20, 23, 30, 34–35, 204 Court Jester from Femfolio, 61, plate 5 Frida and Me, 15 In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 34–35, plate 35 Schneemann, Carolee, 30, 58, 204 Evidence from Femfolio, 61, plate 5 Semmel, Joan, 30, 58, 204 Untitled from Femfolio, 62, plate 5 Senavitis, Karisa, 24, 34, 35, 202 Ramones Commemorative Plates (with Kevin O’Neill), 35, plate 32 Servon, Jody, 13 Sewing, Sandra, 58 Shah, Ela, 35, 36, 204 Cradle of Faith, 36, plate 40 silk screen, 209 Sleigh, Sylvia, 30, 58, 204 Douglas John and Ms. Smith from Femfolio 62, plate 5 Smith, Jaune Quick-To-See, 22, 29, 30, 205 What is An American?, 30, plate 4 Smith, Kiki, 18, 20, 20, 23, 28, 38, 40, 205 Fall, Winter, 40, plate 57 Smithsonian American Art Museum, Washington, DC, 19 Snyder, Joan, 11, 23, 30, 37, 38, 58, 205 Angry Women from Femfolio, 62, plate 5 white field/ pink & orange, 38, plate 48 social movements. See activism South Africa, 20, 25, 26, 32, 42, 45n16 South and Central American artists in exhibition. See Fausti, Eduardo Southern Graphics Council (currently SGC International), 17 Spector, Buzz, 43, 205 surface texture, 43, plate 79 Spero, Nancy, 30, 58, 205 Maypole-War from Femfolio, 62, plate 5 Stadtmuseum Berlin, 19 Stein, Judith, 45n7 Steir, Pat, 28, 43, 44, 205 Cry Stall Gaze (with Anne Waldman), 44, plate 77 stereotypes and anti-stereotypes African American, 29, 40, plates 1, 59 age, 40–42, 62 (Semmel) national, 26 racist, 29, 30, 36, plates 1, 30, 39 Sterling, Susan Fisher, 30 Stevens, May, 30, 40, 41, 206 Band Played On, The from Femfolio, 63, plate 5 Remains of the Day, 41, plate 65 Stroud, Peter, 23 surveillance, 38, plate 53 Swartz, Anne, 30 Switalski, Lisa, 96, 105, 121, 154

symbolism, 35–36, 60 (Ewing), 61 (Neumaier), 62 (Snyder), plates 41, 55, 65, 71, 72, 75, 77 African American, plates 6, 42 art historical, 59 (Antin), plates 47, 73 Latin American, 63 (Stevens), plates 3, 37, historical, plates 16, 17, 25, 68 mythological, 60 (Edelson), plates 57 Native American, plates 4, 18, 33–34, 39, 69–70 natural, 59 (Azara), plates 31, 50, 30 popular culture, plates 1, 2, 9, religious, plates 40 Szykitka, Anya, 14, 67, 135 T Tacha, Athena, 30, 58, 206 Knots from Femfolio, 63, plate 5 Tamarind Institute, University of New Mexico, Albuquerque (1970–present), 15, 17 Tamarind Lithography Workshop, Los Angeles, CA (1960–70), 15, 23–24, 41–42 Thabane, Motsamai, 24 Thomas, Mickalene, 23, 38, 40, 206 Portrait of Marie Sitting in Black and White, 40, plate 59 Thompson, Cynthia Nourse, 13 Thomson, Josh, 168 Thwala, Molefe, 24 Trust for Mutual Understanding (TMU), 19 Truth and Reconciliation Commission (South Africa), 42 Tuttle, Richard, 18, 20, 40, 41, 206 Missing Portrait, The (with John Yau), 41, plate 66 Tyler, Ken, 16–17 U Union of Artists (former USSR), 22 USAID. See United States Agency for International Development (USAID) United States Department of State, 22 United States Information Agency (USIA), 19, 25 V Victoria and Albert Museum, London (V&A), 14, 19 video and audio recording 28, 37, 38, plates 32, 45, 46

W Waldman, Anne, 28, 43, 44, 206 Cry Stall Gaze (with Pat Steir), 44, plate 77 Wayne, June, 15, 23–24, 24, 30, 40, 41–42, 207 Whoopers, 41–42, plate 67 Zinc, Mon Amour from Femfolio, 63, plate 5 Weems, Carrie Mae, 23 Weil, Susan, 27 Will Work for Good (collaborative), 24 Wilson, Fred, 16, 31, 32, 207 Untitled (High Museum of Art; Carnegie Museum of Art), 32 plate 15 Wilson, Martha, 30, 58, 207 I Make Up the Image of My Perfection/I Make Up the Image of My Deformity from Femfolio, 63, plate 5 Whitney Museum of American Art, New York, NY, 19 Women’s Caucus for Art (WCA), 11 words and images, 43–44, works of art, 60 (Hammond), 61 (Ringgold), 62 (Snyder), plates 11, 13, 36, 39, 41, 43, 45, 47, 51, 56,60, 65, 66, 76, 77, 78, 79

works of art and heritage African, plates 3, 38, 41, 68 African American, 61 (Ringgold), plates 1, 2, 6, 7, 9, 13, 42, 50, 54, 59, 61, 63, 64, 78 African Caribbean, plates 3, 10, 62 Asian and South Asian, plates 30, 36, 38, 40, 56, Cuban, plates 16, 53, 58 East European, plates 11, 55 Mexican American, plate 24 Middle Eastern, plates 17, 20, 74, 76 Native American, plates 4, 18, 27, 33, 34, 39, 43, 69–70 Puerto Rican, plates 14, 37, 46 works of art subject matter animation, plates 9, 17 art history, 59 (Antin), 60 (Ewing), plates 3, 5, 13, 22, 37, 47, 49, 52, 59, 67 autobiographical, 63 (Wayne), plates 1, 17, 23, 24, 28, 33–34, 36, 39, 43, 49, 50, 56, 62, 67, 69–70, 71, 78 biblical references, plates 14, 73, 76 body, 59 (Antin), 61 (Schneemann), 62 (Semmel), plates 53, 55, 73, 75 canonization, plate 14, 54, 69–70 domestic, 62 (Sleigh), plates 2, 22, 46, 75 femininity, 63 (Wilson), plates 28, 35 family history and life, plates 12, 20, 43, 46, 49, 50, 56, 62, 65, 69–70, 71, 76, 78 fantasy, 60 (Ewing), 61 (Schapiro), plates 9 folklore, 63 (Stevens) humor, 63 (Wilson), plates 13, 22, 23, 25, 60, 79 memory, 59 (Azara), plates 5, 12, 19, 24, 28, 43, 45, 49, 50, 56, 61, 62, 65, 68, 69–70, 71, 72, 78 migration, 61 (Ringgold) mythology, 60 (Edelson), 62 (Snyder), plates 3, 31, 57 nature, 59 (Azara), plates 5, 21, 33, 34, 50, 57, 67 popular culture as source, plates 4, 10, 22, 32, 60 satire, plates 2, 9, 10, 11, 15, 39, 52, 58 relationships, plate 6, 61, spirituality, plates 3, 14, 18, 38, 69–70 textile-related, 61 (Schapiro), plates 28, 35, 28, 41, 43, 48, 59, 63, 64, 72, 75 Works Progress Administration (WPA), 40 Federal Art Project (FAP), 18, 40

X Xaba, Nhlanhla, 26 Y Yalta Conference, 39 Yau, John, 40, 41, 207 Missing Portrait, The (with Richard Tuttle), 41, plate 66 Yazzie, Melanie, 22, 34, 35, 207 Metamorphosis, 34, plates 33, 34 Young Lords, 36 Z Zimmerli Art Museum, New Brunswick, NJ, 16, 19, 24 Dodge Collection of Soviet Noncomformist Art, 22

218 Potter, Melissa, 13 poverty, 31, 33, plates 7, 16 Princeton Public Libraries, NJ, 23 Print Center, The, Philadelphia, PA, 21, 25 Print Club of New York, The, 23, 41 printmaking, 13–14, 23, 26, 22 printing processes, 208–13 print shops. See Artist Proof Studio (APS), Johannesburg, South Africa; Brodsky Center, Rutgers University, New Brunswick, NJ; Crow’s Shadow Institute of the Arts (CSIA), Umatilla Indian Reservation, Pendleton, OR; Dolphin Press and Print, Maryland Institute College of Art (MICA; Baltimore); Lower East Side Printshop, New York, NY; Print Center, The, Philadelphia, PA; Pyramid Atlantic,Riverdale, MD; Tamarind Lithography Workshop, Los Angeles, CA) Puerto Rican artists in exhibition. See Osorio, Pepón; Rodríguez Calero, Gloria; Sánchez, Juan Pyramid Atlantic, Riverdale, MD (currently Pyramid Atlantic Art Center, Hyattsville, MD), 25 Q Queens Museum, Flushing Meadows Corona Park, NY, 34 R racism, 37. See also anti-racism Raven, Arlene, 30 RCIP. See Brodsky Center, Rutgers University, New Brunswick, NJ: Rutgers Center for Innovative Print (RCIP) RCIPP. See Brodsky Center, Rutgers University, New Brunswick, NJ: Rutgers Center for Innovative Print and Paper (RCIPP) Reilly, Maura, 30 relief printing, 210, 213, plates 16, 21, 51 Richard Florsheim Art Fund, 19 Riley, Duke, 32, 34, 203 Morituri Te Salutant (Those Who Are about to Die Salute You), 34, plate 25 Ringgold, Faith, 23, 30, 31, 32, 58, 203 Coming to Jones Road: Under a Blood Red Sky #8 from Femfolio, 61, plate 5 National Fellowship Program for Artists of Color, 21–22 Sunflower Quilting Bee at Arles, The, 32, plate 13 Rivington Place Portfolio, 23, plate 10 Rodríguez Calero, Gloria, 20, 31, 32, 203 Ex-Voto, 32, plate 14 Rupnow, Michiko, 35, 36, 203 War Monument I (1-4), 36, plate 36 Rutgers Center for Innovative Print (RCIP). See under Brodsky Center, Rutgers University, New Brunswick, NJ Rutgers Center for Innovative Print and Paper (RCIPP). See under Brodsky Center, Rutgers University, New Brunswick, NJ Rutgers University, New Brunswick, NJ, 11, 16, 20 Art History Department, 13, 15 Brodsky Center. See Brodsky Center, Rutgers University, New Brunswick, NJ Center for American Women in Politics (CWAP), 13 Center for Latino/a Arts and Culture (currently Center for Latino Arts and Culture), 23, 33 Center for Women in the Arts and Humanities (CWAH) (formerly Institute for Women and Art, IWA), 45n8, 45n14 Douglass Residential College (formerly known as Douglass College and New Jersey College for Women, 11, 13, 15, 25 Institute for Research on Women (IRW), 13, 45n9 Mason Gross School of the Arts (MGSA). See Mason Gross School of the Arts (MGSA), Rutgers University, New Brunswick, NJ

219 Women’s Studies Program (currently Department of Women, Gender, and Sexuality Studies), 13 Rutgers University Foundation, 24 Rutgers University Libraries. 9 Mary H. Dana Women Artists Series (formerly Women Artists Series), 11 S Saavedra González, Lázaro, 25, 38, 40, 203 Karl Marx, 40, plate 58 Sánchez, Juan, 35, 36, 204 Once We Were Warriors, 36, plate 37 Schapiro, Miriam, 15, 20, 23, 30, 34–35, 204 Court Jester from Femfolio, 61, plate 5 Frida and Me, 15 In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams, 34–35, plate 35 Schneemann, Carolee, 30, 58, 204 Evidence from Femfolio, 61, plate 5 Semmel, Joan, 30, 58, 204 Untitled from Femfolio, 62, plate 5 Senavitis, Karisa, 24, 34, 35, 202 Ramones Commemorative Plates (with Kevin O’Neill), 35, plate 32 Servon, Jody, 13 Sewing, Sandra, 58 Shah, Ela, 35, 36, 204 Cradle of Faith, 36, plate 40 silk screen, 209 Sleigh, Sylvia, 30, 58, 204 Douglas John and Ms. Smith from Femfolio 62, plate 5 Smith, Jaune Quick-To-See, 22, 29, 30, 205 What is An American?, 30, plate 4 Smith, Kiki, 18, 20, 20, 23, 28, 38, 40, 205 Fall, Winter, 40, plate 57 Smithsonian American Art Museum, Washington, DC, 19 Snyder, Joan, 11, 23, 30, 37, 38, 58, 205 Angry Women from Femfolio, 62, plate 5 white field/ pink & orange, 38, plate 48 social movements. See activism South Africa, 20, 25, 26, 32, 42, 45n16 South and Central American artists in exhibition. See Fausti, Eduardo Southern Graphics Council (currently SGC International), 17 Spector, Buzz, 43, 205 surface texture, 43, plate 79 Spero, Nancy, 30, 58, 205 Maypole-War from Femfolio, 62, plate 5 Stadtmuseum Berlin, 19 Stein, Judith, 45n7 Steir, Pat, 28, 43, 44, 205 Cry Stall Gaze (with Anne Waldman), 44, plate 77 stereotypes and anti-stereotypes African American, 29, 40, plates 1, 59 age, 40–42, 62 (Semmel) national, 26 racist, 29, 30, 36, plates 1, 30, 39 Sterling, Susan Fisher, 30 Stevens, May, 30, 40, 41, 206 Band Played On, The from Femfolio, 63, plate 5 Remains of the Day, 41, plate 65 Stroud, Peter, 23 surveillance, 38, plate 53 Swartz, Anne, 30 Switalski, Lisa, 96, 105, 121, 154

symbolism, 35–36, 60 (Ewing), 61 (Neumaier), 62 (Snyder), plates 41, 55, 65, 71, 72, 75, 77 African American, plates 6, 42 art historical, 59 (Antin), plates 47, 73 Latin American, 63 (Stevens), plates 3, 37, historical, plates 16, 17, 25, 68 mythological, 60 (Edelson), plates 57 Native American, plates 4, 18, 33–34, 39, 69–70 natural, 59 (Azara), plates 31, 50, 30 popular culture, plates 1, 2, 9, religious, plates 40 Szykitka, Anya, 14, 67, 135 T Tacha, Athena, 30, 58, 206 Knots from Femfolio, 63, plate 5 Tamarind Institute, University of New Mexico, Albuquerque (1970–present), 15, 17 Tamarind Lithography Workshop, Los Angeles, CA (1960–70), 15, 23–24, 41–42 Thabane, Motsamai, 24 Thomas, Mickalene, 23, 38, 40, 206 Portrait of Marie Sitting in Black and White, 40, plate 59 Thompson, Cynthia Nourse, 13 Thomson, Josh, 168 Thwala, Molefe, 24 Trust for Mutual Understanding (TMU), 19 Truth and Reconciliation Commission (South Africa), 42 Tuttle, Richard, 18, 20, 40, 41, 206 Missing Portrait, The (with John Yau), 41, plate 66 Tyler, Ken, 16–17 U Union of Artists (former USSR), 22 USAID. See United States Agency for International Development (USAID) United States Department of State, 22 United States Information Agency (USIA), 19, 25 V Victoria and Albert Museum, London (V&A), 14, 19 video and audio recording 28, 37, 38, plates 32, 45, 46

W Waldman, Anne, 28, 43, 44, 206 Cry Stall Gaze (with Pat Steir), 44, plate 77 Wayne, June, 15, 23–24, 24, 30, 40, 41–42, 207 Whoopers, 41–42, plate 67 Zinc, Mon Amour from Femfolio, 63, plate 5 Weems, Carrie Mae, 23 Weil, Susan, 27 Will Work for Good (collaborative), 24 Wilson, Fred, 16, 31, 32, 207 Untitled (High Museum of Art; Carnegie Museum of Art), 32 plate 15 Wilson, Martha, 30, 58, 207 I Make Up the Image of My Perfection/I Make Up the Image of My Deformity from Femfolio, 63, plate 5 Whitney Museum of American Art, New York, NY, 19 Women’s Caucus for Art (WCA), 11 words and images, 43–44, works of art, 60 (Hammond), 61 (Ringgold), 62 (Snyder), plates 11, 13, 36, 39, 41, 43, 45, 47, 51, 56,60, 65, 66, 76, 77, 78, 79

works of art and heritage African, plates 3, 38, 41, 68 African American, 61 (Ringgold), plates 1, 2, 6, 7, 9, 13, 42, 50, 54, 59, 61, 63, 64, 78 African Caribbean, plates 3, 10, 62 Asian and South Asian, plates 30, 36, 38, 40, 56, Cuban, plates 16, 53, 58 East European, plates 11, 55 Mexican American, plate 24 Middle Eastern, plates 17, 20, 74, 76 Native American, plates 4, 18, 27, 33, 34, 39, 43, 69–70 Puerto Rican, plates 14, 37, 46 works of art subject matter animation, plates 9, 17 art history, 59 (Antin), 60 (Ewing), plates 3, 5, 13, 22, 37, 47, 49, 52, 59, 67 autobiographical, 63 (Wayne), plates 1, 17, 23, 24, 28, 33–34, 36, 39, 43, 49, 50, 56, 62, 67, 69–70, 71, 78 biblical references, plates 14, 73, 76 body, 59 (Antin), 61 (Schneemann), 62 (Semmel), plates 53, 55, 73, 75 canonization, plate 14, 54, 69–70 domestic, 62 (Sleigh), plates 2, 22, 46, 75 femininity, 63 (Wilson), plates 28, 35 family history and life, plates 12, 20, 43, 46, 49, 50, 56, 62, 65, 69–70, 71, 76, 78 fantasy, 60 (Ewing), 61 (Schapiro), plates 9 folklore, 63 (Stevens) humor, 63 (Wilson), plates 13, 22, 23, 25, 60, 79 memory, 59 (Azara), plates 5, 12, 19, 24, 28, 43, 45, 49, 50, 56, 61, 62, 65, 68, 69–70, 71, 72, 78 migration, 61 (Ringgold) mythology, 60 (Edelson), 62 (Snyder), plates 3, 31, 57 nature, 59 (Azara), plates 5, 21, 33, 34, 50, 57, 67 popular culture as source, plates 4, 10, 22, 32, 60 satire, plates 2, 9, 10, 11, 15, 39, 52, 58 relationships, plate 6, 61, spirituality, plates 3, 14, 18, 38, 69–70 textile-related, 61 (Schapiro), plates 28, 35, 28, 41, 43, 48, 59, 63, 64, 72, 75 Works Progress Administration (WPA), 40 Federal Art Project (FAP), 18, 40

X Xaba, Nhlanhla, 26 Y Yalta Conference, 39 Yau, John, 40, 41, 207 Missing Portrait, The (with Richard Tuttle), 41, plate 66 Yazzie, Melanie, 22, 34, 35, 207 Metamorphosis, 34, plates 33, 34 Young Lords, 36 Z Zimmerli Art Museum, New Brunswick, NJ, 16, 19, 24 Dodge Collection of Soviet Noncomformist Art, 22

222

223 Every effort has been made to supply full and accurate copyright credits. If there are errors or omissions, please contact the Zimmerli Art Museum so that corrections can be made to records and in any subsequent edition. Courtesy of the Pacita Abad Art Estate Plate 38; © Lynne Allen Plate 43; © 2023 Emma Amos / Licensed by VAGA at Artists Rights Society (ARS), NY Plate 5; © El Anatsui Plate 41; © Eleanor Antin. Courtesy Richard Saltoun Gallery Plate 5; © Alexandre Arrechea Plate 16; © Eric Avery M.D. Plate 73; © Zeina Barakeh Plate 17; © 2023 Will Barnet Trust / Licensed by VAGA at Artists Rights Society (ARS), NY Plate 61; Courtesy of the artist Plate 76; © 2023 Lynda Benglis / Licensed by VAGA at Artists Rights Society (ARS), NY Plate 44; © Kim Berman Plate 68; © Willie Birch Plate 1; © Bette Blank Plate 60; © Chakaia Booker Plate 42; © 2023 Frank Bowling. All Rights Reserved / Artists Rights Society (ARS), New York / DACS, London Plate 62; © Diane Burko Plate 21; © Magdalena Campos-Pons Plate 53; © 2023 MoraCatlett Family / Licensed by VAGA at Artists Rights Society (ARS), NY Plate 63; © Corwin Clairmont Plate 27; © Jacqueline Ann Clipsham Plate 45; © Willie Cole Plate 2; © Gail Deery Plate 49; © Estate of David C. Driskell Plate 50; Image courtesy of the Estate of Mary Beth Edelson and David Lewis Plate 5; © 2023 Melvin Edwards / Artists Rights Society (ARS), New York Plate 6; Courtesy of Eileen M. Foti Plate 71; © 2023 The Nancy Spero and Leon Golub Foundation for the Arts / Licensed by VAGA at Artists Rights Society (ARS), NY Plate 8; © Melissa Gould Plate 19; Courtesy of the Estate of Gladys Barker Grauer and Gallery Aferro Plate 7; © Marina Gutierrez Plate 3, Cover; © 2023 Harmony Hammond / Licensed by VAGA at Artists Rights Society (ARS), NY Plate 5; © Trenton Doyle Hancock 2023. Courtesy the artist and James Cohan, New York Plate 9; © Roberta Harley Plate 28; Copyright Randy Hemmingahaus Plate 72; © Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York Plate 54; © Margo Humphrey Plate 78; © 2023 Deborah Kass / Artists Rights Society (ARS), New York Plate 52; © Marilyn Keating Plate 75; © William Kentridge Plate 47; © Byron Kim 2023. Courtesy the artist and James Cohan, New York Plate 30; © James Lavadour Plate 18; © 2023 Artists Rights Society (ARS), New York / DACS, London Plate 10; © George Longfish Plate 39; © Deborah Luster. Courtesy of the artist and Jack Shainman Gallery, New York Plate 26; © Sarah McEneanny Plate 23; © Amailia Mesa-Bains Plate 24; © Irina Nakhova Plate 55; © Diane Neumaier Plate 5; © Kevin O'Neill & Karisa Senavitis / Will Work for Good Plate 32; © Pepón Osorio Plate 46; © Nell Painter Plate 64; © 2023 Duke Riley / Artists Rights Society (ARS), New York Plate 25; © 2023 Faith Ringgold / Artists Rights Society (ARS), New York, Courtesy ACA Galleries, New York Plate 5, Plate 13; © Rodriguez Calero Plate 14; © Michiko Rupnow Plate 36; © Lázaro Saavedra Courtesy Galerie GP & N Vallois, Paris Plate 58; © Juan Sanchez Plate 37; © 2023 Estate of Miriam Schapiro / Artists Rights Society (ARS), New York Plate 5, Plate 35; © 2023 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York. Courtesy Hales Gallery and P•P•O•W, New York Plate 5; © 2023 Joan Semmel / Artists Rights Society (ARS), New York Plate 5; © Ela Shah Plate 40; © Sylvia Sleigh Plate 5; Courtesy of the Artist and Garth Greenan Gallery, NYC Plate 4; © Kiki Smith Plate 57; © Joan Snyder Plate 5, Plate 48; © Buzz Spector Plate 79; © 2023 The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA at Artists Rights Society (ARS), NY Plate 5; Art © Pat Steir, courtesy Hauser & Wirth; Text © Anne Waldman Plate 77; © May Stevens; Courtesy of the estate of the artist and Ryan Lee Gallery, New York Plate 5, Plate 65; © Athena Tacha Plate 5; © 2023 Mickalene Thomas / Artists Rights Society (ARS), New York Plate 59; © Richard Tuttle & John Yau, courtesy Pace Gallery Plate 66; © 2023 The June Wayne Collection / Licensed by VAGA at Artists Rights Society (ARS), NY Plate 5, Plate 67; © Fred Wilson, courtesy Pace Gallery Plate 15; Courtesy of Martha Wilson and P•P•O•W, New York Plate 5

Front cover: Marina Gutierrez, Reaching Mut, 1994 Collaborating printer, Eileen M. Foti Collaborating papermaker, Gail Deery Lithograph, collagraph, with hand coloring, embossing, chine collé, and stitching, Two sheets, each 41.25 x 29.5 in. (104.775 x 74.9 cm) Edition 14 Collection Zimmerli Art Museum at Rutgers, gift of the Brodsky Center, 1995.0137.001-002.­­­­­ Back cover: Willie Cole, Silex Male, Ritual, 2004 Collaborating printer, Josh Azzarella Digital print on Arches Infinity digital paper, 41 × 61 in. (104.1 × 154.9 cm) Edition: 12 Private collection

220 This book accompanies the exhibition The Brodsky Center at Rutgers University: Three Decades, 1986-2017 at the Zimmerli Art Museum Rutgers, The State University of New Jersey

221 Rutgers University Press is a department of Rutgers, The State University of New Jersey, one of the leading public research universities in the nation. By publishing worldwide, it furthers the University’s mission of dedication to excellence in teaching, scholarship, research, and clinical care. Published by Rutgers University Press and the Zimmerli Art Museum.

Jane Voorhees Zimmerli Art Museum Rutgers, The State University of New Jersey 71 Hamilton Street New Brunswick, New Jersey 08901-1248 zimmerli.rutgers.edu The exhibition is curated by Ferris Olin, Distinguished Professor Emerita, Rutgers University. Lenders to the exhibition include Lynne Allen, Milcah Bassel, Diane Burko and Richard Ryan, Collection of Pat Steir, Courtesy of Hauser & Wirth, Gail Deery, Eileen M. Foti, Randy Hemminghaus, Missoula Art Museum, Dot Paolo, Michiko Rupnow, Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts, Betty J. Turock and Gustav W. Friedrich, and several private collectors. The Zimmerli’s operations, exhibitions, and programs are funded in part by Rutgers, The State University of New Jersey, and income from the Avenir Endowment Fund and the Andrew W. Mellon Endowment Fund, among others. Additional support comes from the New Jersey State Council on the Arts, and the donors, members, and friends of the museum. This project is supported in part by donors to the Zimmerli’s Major Exhibition Fund: Kathrin and James Bergin, Sundaa and Randy Jones, and Heena and Hemanshu Pandya, with additional support provided by IFPDA Foundation, Alta and Marc Malberg, and an anonymous donor.

Editor: Ferris Olin Associate editor and indexer: Elizabeth Napier Publication manager: Stacy Smith Rights and Reproductions: Kiki Michael Designers: Marie Latham, with Jack Stawowczyk Set in Raleway on 100 lb silk coated text stock Printed and bound by Puritan Capital Photography credits Peter Jacobs: Plates 1, 3–8, 11–13, 20, 22, 24, 28–29, 33, 35, 37–38, 40, 45–47, 51–52, 55–57, 61–65, 67, 74–75, 78–79; Dot Paolo: Plates 2, 9–10, 14–19, 21, 23, 25–26, 30–32, 34, 36, 39, 41–44, 48–50, 53, 58–59, 66, 68–73; Missoula Museum of Art: Plate 27; Brodsky Center at PAFA: Plates 54, 60, 76; Plate 77 and photographs in the essay courtesy of Judith K. Brodsky.

© 2023 Zimmerli Art Museum, Rutgers, The State University of New Jersey © 2023 Ferris Olin Library of Congress Control Number 2023942967 ISBN 978-1-9788-3992-2

All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 106 Somerset Street, New Brunswick, NJ 08901. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. References to internet websites (URLs) were accurate at the time of writing. Neither the author nor Rutgers University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. rutgersuniversitypress.org zimmerli.rutgers.edu

220 This book accompanies the exhibition The Brodsky Center at Rutgers University: Three Decades, 1986-2017 at the Zimmerli Art Museum Rutgers, The State University of New Jersey

221 Rutgers University Press is a department of Rutgers, The State University of New Jersey, one of the leading public research universities in the nation. By publishing worldwide, it furthers the University’s mission of dedication to excellence in teaching, scholarship, research, and clinical care. Published by Rutgers University Press and the Zimmerli Art Museum.

Jane Voorhees Zimmerli Art Museum Rutgers, The State University of New Jersey 71 Hamilton Street New Brunswick, New Jersey 08901-1248 zimmerli.rutgers.edu The exhibition is curated by Ferris Olin, Distinguished Professor Emerita, Rutgers University. Lenders to the exhibition include Lynne Allen, Milcah Bassel, Diane Burko and Richard Ryan, Collection of Pat Steir, Courtesy of Hauser & Wirth, Gail Deery, Eileen M. Foti, Randy Hemminghaus, Missoula Art Museum, Dot Paolo, Michiko Rupnow, Rutgers Print Collaborative, Department of Art and Design, Mason Gross School of the Arts, Betty J. Turock and Gustav W. Friedrich, and several private collectors. The Zimmerli’s operations, exhibitions, and programs are funded in part by Rutgers, The State University of New Jersey, and income from the Avenir Endowment Fund and the Andrew W. Mellon Endowment Fund, among others. Additional support comes from the New Jersey State Council on the Arts, and the donors, members, and friends of the museum. This project is supported in part by donors to the Zimmerli’s Major Exhibition Fund: Kathrin and James Bergin, Sundaa and Randy Jones, and Heena and Hemanshu Pandya, with additional support provided by IFPDA Foundation, Alta and Marc Malberg, and an anonymous donor.

Editor: Ferris Olin Associate editor and indexer: Elizabeth Napier Publication manager: Stacy Smith Rights and Reproductions: Kiki Michael Designers: Marie Latham, with Jack Stawowczyk Set in Raleway on 100 lb silk coated text stock Printed and bound by Puritan Capital Photography credits Peter Jacobs: Plates 1, 3–8, 11–13, 20, 22, 24, 28–29, 33, 35, 37–38, 40, 45–47, 51–52, 55–57, 61–65, 67, 74–75, 78–79; Dot Paolo: Plates 2, 9–10, 14–19, 21, 23, 25–26, 30–32, 34, 36, 39, 41–44, 48–50, 53, 58–59, 66, 68–73; Missoula Museum of Art: Plate 27; Brodsky Center at PAFA: Plates 54, 60, 76; Plate 77 and photographs in the essay courtesy of Judith K. Brodsky.

© 2023 Zimmerli Art Museum, Rutgers, The State University of New Jersey © 2023 Ferris Olin Library of Congress Control Number 2023942967 ISBN 978-1-9788-3992-2

All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 106 Somerset Street, New Brunswick, NJ 08901. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. References to internet websites (URLs) were accurate at the time of writing. Neither the author nor Rutgers University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. rutgersuniversitypress.org zimmerli.rutgers.edu