Recent Projects

  • Diana Guerrero-Macía, The Beautiful Girls No. 1, 2018.
    Diana Guerrero-Macía, The Beautiful Girls No. 1, 2018.
  • The First Time, The Heart (First Pulse, Flatline), 2017. Diptych, each 11 1/2" x 14 1/2" (unframed). Edition of 20.
    The First Time, The Heart (First Pulse, Flatline), 2017. Diptych, each 11 1/2" x 14 1/2" (unframed). Edition of 20.
  • Leah Beeferman,     Force 1 (Float), 2018. Collagraph and archival inkjet with chine collé. 32 ¼ x 19 1/8 in. Edition size 10.
    Leah Beeferman, Force 1 (Float), 2018. Collagraph and archival inkjet with chine collé. 32 ¼ x 19 1/8 in. Edition size 10.
  • Beverly Semmes, Golden G: Flowers, 2016.
    Beverly Semmes, Golden G: Flowers, 2016.
  • Orly Genger, Squat, 2017. Xix color silkscreen on Revere paper, 22 1/2" x 15". Edition of 12.
    Orly Genger, Squat, 2017. Xix color silkscreen on Revere paper, 22 1/2" x 15". Edition of 12.
  • Paula Wilson, In the Desert: Mooning, 2016.
    Paula Wilson, In the Desert: Mooning, 2016.

Diana Guerrero-Macía

During her one-week Island Press residency in spring 2017, Diana Guerrero-Maciá developed a suite of four prints that coincides with a larger body of work titled The Other Ones, reflecting on critical concerns about race and bodies using hybrid references of otherness. The prints also nod to the important influence of collage artist Hannah Hoch. Guerrero-Maciá cites Hoch's series From an Ethnographic Museum and specifically the 1920 collage The Beautiful Girl—the titular subject of this suite of prints. Her studio practice is driven by the potential between painting and textiles using collage methods that are shape-, color-, and symbol-driven. Reflecting on her Island Press residency, she noted, "It seemed natural to work through print processes that could echo my visual language in hybridity. We experimented in embossing, transparency of color, and chine collé and worked through the constraints of these processes to create this set of prints." To view the suite of prints, visit her artist page.

Dario Robleto

The two prints Dario Robleto created with Island Press in fall 2016, The First Time, the Heart (First Pulse, Flatline), bring together the first successful scientific attempts to mark the first pulse wave and flatline ever recorded (in 1853 and 1870, respectively), which changed the way we understand ourselves and communicate our bodies. To honor the original method of image recording used by 19th-century physiologists—mark making in soot—Robleto (working with Island Press) devised a novel printing method merging lithography with hand-flamed and sooted paper. To learn more about the prints Robleto produced at Island Press, read his self-authored essay.

Leah Beeferman

As the inaugural Island Press Emerging Artist Fellow in summer 2016, Leah Beeferman's original idea was to see how—or if—the material processes of printmaking could translate the quality of immateriality typically present in her digital work. We thought about a few things as starting points: picking colors that could print very solid and deep, despite simply going down flat; playing with the idea of the print surface, and how to make the flat shapes feel like they were suspended in a space deeper than the paper; and working with digitally printed forms alongside stenciled or print-made forms to play with what is material, what is done by hand, and what is mechanical. The blues are inks mixed to match Pantone colors similar to what Beeferman normally uses on the computer (RGB 0, 0, 255), and the yellow is a nod to CMYK (process yellow). The three digital images are 1) drawn in Photoshop 2) scanned aluminum foil 3) taken from a video still of a volcano eruption, and colorshifted. They add to the question of what is material and what is digital, as they all are both material and digital, in varying degrees. To view the prints Beeferman produced at Island Press, visit her artist page.

Beverly Semmes

Beverly Semmes' Golden G: Flowers / Heels / Curtains is a series of three editions that combine inkjet prints layered with intaglio and set into frames of printed acrylic fleece. The editions connect Semmes' ongoing Feminist Responsibility Project (FRP) to her 2016 exhibition at Susan Inglett Gallery, which debuted the ghost shapes (the "G" stands for ghost) that frame the Island Press redactions. Much of Semmes' work involves editing and erasure. Symbolic repositories for femininity—dresses, vessels, and decadent fabrics—all become platforms for manipulation and metamorphosis. To learn more about these prints, read this PROOF essay by Stephanie Ellis Schlaifer.

Orly Genger

In fall 2015, Orly Genger published three screenprints at Island Press—Sprint, Squat, and Struggle—that signal energetic exertions of bodies in motion. Figurative elements—including clenched fists, bent legs, flexed arms, and clawing fingers, appear throughout these compositions. These muscular anatomies are evocative of the idealized bodies upon which the
canon of art history is built, passing from Ancient Greece through Renaissance Italy, and so forth. However, rather than the muscular "superheroes" of art history, such as Polykleitos' Doryphoros or Bernini's David, Genger—with keen wit—turns to those of popular culture. The pages of comic books are her source and, specifically, the characters' exaggerated physiques as they accomplish astounding feats. To learn more about these prints, read this PROOF essay by Gretchen Wagner.

Paula Wilson

In Paula Wilson's work, everything is at play. Her subjects are mythic, reframed archetypes—
they contain multitudes. Her project with Island Press, undertaken during a mini-residency in May 2015, comprises a series of collagraphs titled In the Desert: Mooning plus eleven unique works, many of them collaged from remnants of the edition proofs. In them, Wilson creates a parable in patternwork and glyphs, one which conflates ancient and 21st-century motifs. She works against convention and across media—printmaking, collage, video, installation—and is an incessant layerer. Her work resists the tidiness of categorization and its aloofness. Wilson's layering questions the very frame of representation: take her work seriously, but don't fence her in. To learn more about the project, read this PROOF essay by Stephanie Ellis Schlaifer.