Northern Prints Gallery

Robert Repinski Close About Robert Repinski Robert Repinski received a B. F. A. from the University of Washington and an M.F.A. from Rutgers University - Mason Gross School of the Arts. His work includes lithography, etching, and mixed media applications. Robert's subject matter explores issues of gay sexuality and identification with particular regard to the AIDS pandemic. He has been a visiting artist to Russia, taught workshops in Mexico, and exhibits across the country on a regular basis. His work is included in numerous museum, corporate, and private collections. Currently, he is a professor in the Department of Art and Design of the University of Minnesota, Duluth. Artist Statement My work has, for quite some time, dealt with issues of representation from a gay perspective and under the specter of the AIDS pandemic. Some work deals directly with the syndrome, others with reactions to it, still others with just being queer. It can't help but describe sexuality and difference, yet I try to speak within the context of our own shared existence and our shared mortality. Often graphic, it is just as often subtle, containing subtexts that, I hope, mediate my irascible nature when dealing with these issues. I try to touch on many things: anger, sensuality, frustration, hypocrisy, hope, despair -- and in doing so, begin to define what might be called my spirituality. The work is shaped by an interest in the multiple -- and extension of my history as a printmaker. Beyond the "edition" and especially when presented within a grid configuration, multiples are able to reference contemporary methods of replication, communication, and simultaneity. There are similarities, I find, between this and "the Net" or digital imaging that help to situate the work in the present and provide a context for the subject matter. The content, like the form it takes, is layered. My intention is to offer choices in accessing he work -- such as format, images, or materials -- that when considered in tandem with one another, create points of intersection that, in turn, offer some insight into the work. Thus, the information is sort of "time released" by design, hopefully describing an experience that is, at some level, shared.	Arbitration of Love (detail of a 5-piece work) Mixed Media $1500	Back Lot (deail of diptych) Intaglio 14"x5" $250	Baiting Jupiter Intaglio 23"x28" $850	Three Gifts Intaglio 19.5"x23" $450	Ebb and Flow Inaglio 5.5"x6.25" $250

Gaylord Schanilec Close About Gaylord Schanilec Gaylord Schanilec's works on paper and his fine press books have an almost mythic international reputation for excellence. His resume is filled with prestigious awards and other accomplishments in the field of fine printing and wood engraving...most recently, the Gregynog Letterpress Prize at the 2007 Oxford Book Fair for his recent publication, Sylvae. He is, moreover, a generous mentor and hidden benefactor behind the work of many well known printmakers whom he has encouraged and guided in their careers. "Landscape has always been interesting to me. I grew up in the Red River Valley of North Dakota, and when I was in my teens, the big theme of the local poetry scene was "spirit of place." This made an impression, but more potent was the horizon line there: a straight 360 degree line. The Red River Valley is as flat as the floor you are standing on. The world was half sky. Exactly. I love the sky. "In 1979, when I first began printing, I was living in a warehouse in Saint Paul, Minnesota, across the street from the Anchor Paper Company. They had a loading dock, and on the dock were large wire bins filled with off cuts of paper. My friend Gary Egger and I would go over after dark and root through the bins. It was Gary who came up with the phrase "Midnight Paper Sales." I lived there for four years. Then Anchor Paper Company walled off the loading dock and I moved on." He now lives on a wooded homestead in Stockholm, Wisconsin. Artist Statement Statement - My roots are in poetry, and I'm still walking down that road. When something strikes me as interesting and significant, I work with it. The result these days is a book. In my younger days it was a poem. You could say my work is "about" road side attractions. I'm often amazed at how one can take a seemingly insignificant detail, and by putting time into it, it grows into something much larger: like a grain of sand turning into a pearl. Some time ago I was on a canoe trip in the boundary waters of northern Minnesota. and a big storm forced us ashore. A very big storm. When it finally passed, there was a rainbow, and another, and another, and another, and another. An infinity of rainbows, one after another, each a little smaller and fainter than the last--like a series of hoops in a green house--but going on forever. I look at work that way, but of course, there is a final rainbow, and as I approach my 50th year, I realize I don't have time for more than a half dozen or so more major projects. It's a sobering thought, but perhaps the rainbows do continue on into infinity. Somehow.	Maple from Sylvae proof Wood Engraving 9.5"x12"	Opening Wood Engraving	Aspen, from Sylvae proof Wood Engraving 12"x7"	Hidden Falls Wood Engraving	Sumac Root from Sylvae proof Wood Engraving	Red Cedar from Sylvae proof Wood Engraving

Kurt Seaberg Close About Kurt Seaberg I was born in Chicago, Illinois in 1954. I studied art at the University of Washington, graduating with a Bachelor of Arts degree in 1976. I continued my studies at the University of Minnesota in the 1980s, where I learned intaglio and lithography, and have been a working member of Highpoint Center for Printmaking since 2003. I have worked in a number of mediums but for many years have directed much of my creative energy through lithography. I love the way the texture of the stone preserves the liveliness and spontaneity of the drawing, as well as the numerous possibilities this medium offers to further transform and manipulate the drawn image. And being a printed form, it makes my art and what I'm trying to communicate more available to others. Artist Statement One of the tasks of the artist, I feel, is to remind us where our strength and power lies- in beauty, community and a sense of place. Nature has always been a theme and source of inspiration in my work, in particular the spiritual qualities that I find there. My hope is that my art will evoke the same feelings that arise in me when I contemplate the mystery of being alive in a living world: humility, gratitude and a sense of wonder before what I believe is truly sacred.	Winter Night Stone Lithograph 21.75"x10" $425	December Evening Stone Lithograph 10.5"x13.5" $275	First Light Stone Lithograph 14"x10" $150	Autumn Dance Stone Lithograph 11"x8" $175	The Luminous Hour Stone Lithograph 16.5"x22.5" $500	Rebirth Stone Lithograph 14.5"x10" $275

Jauneth Skinner Close About Jauneth Skinner Jauneth Skinner is a graphic artist working in traditional print media producing hand-pulled limited edition prints. Her prints have been published by The Quiet Crow Press and Loonfeather Press (Bemidji, MN), USD Press (Vermillion, SD), Ohio University Press (Athens, OH), Northern Printmaker's Alliance (Duluth, MN), American Print Alliance (New York, NY) and Hampton Editions, Ltd (Sag Harbor, NY). Her work has been exhibited in many galleries, including The National Museum of Women in the Arts (Washington, D.C.), United Nations' Fourth World Conference on Women (Beijing, China), Studio la città (Verona, Italy), Artemisia Gallery, Chicago Printmakers Collaborative, and Anchor Graphics (Chicago, IL), Minnesota State Arts Board, Center for Book Arts and Minneapolis Art Institute (Minneapolis), William Over State Museum (Vermillion, SD), Beardsly Art Museum (Phoenix, AZ) and Fort Wayne Museum of Art (Fort Wayne, IN). Her work is included in over 100 collections, such as the Smithsonian National Museum of Art Print Collection (Washington, D.C.), Fogg Museum of Art Print Collection, Harvard University (Cambridge, MA), Kennaraháskóli Íslands University Print Collection, Stakkahlíö (Reykjavík, Iceland), Le Volpi é L'Uva and Old Bridge Gallery (Florence, Italy), Rossi Library Archives, (Rome, Italy), and Minnesota Historical Society (St. Paul, MN). Artist Statement Life is nothing but a journey through art, to capture those one or two moments when your heart first opened. - Camus I have many obsessions. Images dance in my head, perform in my dreams. Drawings of trees, studies of horses and figures, and landscape sketches inhabit my journals. I have shelves filled with journals, a visual and written record of the same visual obsessions I had when I was a child. These images reoccur in my prints and drawings. My life compels me to go. The images often come from my travels - landscape and figure, foreground and background. These are often revealed through the interaction of space and time. As an observer I map mountain, earth, sky, tree, figure. My work is an intimate interaction between memory and desire, time and movement. Figures implied or imaginary float in tantalizing poses above and in the landscape. I am propelled from one life into another - from one culture to another. These pieces have a narrative quality, and come from visual investigations collected in my handmade journals. They are a record of remembering, as well as an illustration of the process of visually retrieving events or images. These visual obsessions haunt me as I illustrate not only my life, but my dreams.	Paessaggistica Hand-colored Solarplate 11"x8.5" $295	Out of the Woods Solarplate 10"x8" $249	Italia Linocut/Letterpress 13"x19" Italia was published by the Quiet Crow Press, Bemidji, Minnesota. It is composed of six broadsides of the poems of Carol Ann Russell and the black-line linocuts of Jauneth Skinner, printed on Ingres-Frabriano paper, and a colophon. Russell's poems are presented in both English and Italian (translated by A. Carrera and Franco Nasi. The poetry was letterpress printed in Bembo type by Jauneth Skinner. The portfolio of broadsides was printed in an edition of 50 numbered folders, signed by both artists.	What Was Woman Became Wood Woodcut 5"x7" $175	Caco 2 Solarplate 8"x10" $395	Landscape Composition ii Black Line Linocut 10"x8" $125

Erik Waterkotte Close About Erik Waterkotte Artist Statement If you ask, "Why is the city of Thekla's construction taking such a long time?" the inhabitants continue hoisting sacks, lowering leaded strings, moving long brushes up and down, as they answer, "So that its destruction cannot begin." from Invisible Cities by Italo Calvino Fluctuating spaces are a primary interest in my work. The prints in this series represent a recent exploration into the image of disaster as a landscape in flux. The mark of devastation is compelling; broken architectures, voids of space and atmosphere distort a once recognizable landscape. In his book The Destruction of Memory; Architecture and War Robert Bevan states, "The built environment is merely a prompt, a corporeal reminder of the events involved in its construction, use, and destruction." My prints consider the disaster to be an uncanny space where time has collapsed: the inevitable has become the present and the remnants of destruction become evidence of the past and projections of the future. The history of printmaking has a lengthy connection to images of disaster and war: Jacques Callot's The Miseries and Misfortunes of War, Francisco Goya's Disasters of War, Otto Dix's War, and Andy Warhol's "Disaster" series. Layering imagery in a variety of graphic medium, I combine images of disaster sites (appropriated, photographed, and collaged) with diagrammatic marks and forms. I use this juxtaposition of photographic, textural, and diagrammatic imagery as a means of expressing the fluctuating nature of time and space seen in the image of disaster. I draw influence from the illustrational conventions of space and color of Japanese Emaki scroll paintings and science fiction book covers from 1950s and 60s. Although my intent with these prints is not outwardly political, I see them as an expression of the times, reinterpreting the imagery of disaster that continues to permeate our popular conscious	After the Empire Intaglio & Mixed Media 17"x24"	Collapsing Unions/Unfolding Principles Intaglio & Mixed Media 30"x44"	Over the Drained Lake Intaglio & Mixed Media 26"x17.25"	Premise Collapse Monoprint 25.5"x20"	Mimetized Disaster Intaglio & Mixed Media 33"x24"	System of Explosions Intaglio & Mixed Media 25.5"x37"

Todd White Close About Todd White Todd White is a librarian at the College of St. Scholastica, Duluth, Minnesota. In 2001, he published his first book, "The Selfish Giant", by Oscar Wilde, He illustrated, set the type for, printed, and hard-bound the book all by hand. The book is chapbook size, and printed with Poliphilus type. The illustration is a photoengraving from an original block. Artist Statement I studied stained glass with Jeffrey Lee Russell and have worked as a professional glass artist.. I am a published poet and writer. In 1997, I founded the Recknynge Press, a private press dedicated to the belief that a fine book, "timeless & incorruptible" serves the pleasure of the hand, the eye, the mind, and the soul.	Selfish Giant Fine Press Book 4"x6"x3/8" $135 Todd White's "The Selfish Giant" print is the frontespiece for a hand-printed edition of his son's favorite story, Oscar Wilde's The Selfish Giant. The elegant child-sized book (4" x 6") was hand-set in 16-point Poliphilus type. It was printed on 77-pound Rives, an all cotton, acid-free paper, The end papers were machine-marbled in France. The illustration is a photoengraving reduced from the original block print carved by White. The Selfish Giant was hand-printed and bound by Todd White at the Recknynge Press of Duluth in an edition of 100 books, and is signed by the atist. This collector's edition book is available for sale through the Northern Prints Gallery for $135.	Cut Green Wood Lettpress Poem 8"x10" $65	Prologue of the Rule Letterpress 9.5"x12.5" $180 The Rule of St. Benedict The text is the beginning of the prologue of the Rule of St. Benedict, written by St. Benedict of Nursia in the 6th century. For the last 1500 years, Benedictine monks and sisters have used the Rule as their guide for living together in community. The type is Poliphilus, a facsimile of a type designed by Francesco Griffo in the 1490s for the great Venetian printing house of Aldus Manutius - The Aldine Press. The illumination L is from the "lily of the valley" alphabet (circs 1475) of Gunther Zainer, a German printer from Augsburg. It is hand-painted using gouache paints. The size of the page is based on a book printed in quarto. The proportion of the text to the margins is based on an "idea;" Renaissance formula. The Prologue of the Rule of St. benedict was printed & illuminated at the Recknynge Press of Duluth, Minnesota by Todd White. "A great recknynge in a little room."	To Know the Name of God Lettpress Poem 5"x7" $65	Lament for Cullen's Hound Letterpress Poem 8"10" $65	Persephone's Poem Letterpress Poem 5"x6.75" $50

Nick Wroblewski Close About Nick Wroblewski Nick Wroblewski is a Midwest based printmaker specializing in hand cut wood block prints. He studied art at Bennington College in Vermont and later taught himself the technique of relief printmaking. Majoring in painting and sculpture, Nick combined elements of the two and found himself deeply intrigued by the many possibilities within printmaking. He has been busy creating new images with woodblocks since 1996. Currently, Nick has established a studio in Madison, Wisconsin. He makes a living by creating woodcuts. His work can be seen in magazine illustrations, galleries, and art shows. He shows work at galleries in Minnesota, Vermont, and Wisconsin and displays prints at art shows throughout the country. Artist Statement "He to whom Nature begins to reveal her open secret will feel an irresistible yearning for her most worthy interpreter, Art." -' Goethe	Shape of Light Woodcut 13"x20" $400	Chickadee Story Woodcut 7"x10" Sold Out	Winds Breath Woodcut 28"x38" $1100	Water Laughing	Bellows of Our Shared Breath	Red Wings at Dusk

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