Pests of Public Importance, 2017, edition 126, $100 ($65 pre-publication)
3 x 2.25 inch woodcut and letterpress boustrophedon accordion book
April Vollmer: woodcut
Esther K. Smith: concept, book structure, design
Dikko Faust: letterpress, typesetting
Publisher: Purgatory Pie Press
With an eponymous poem by Georgia Luna Smith Faust
available from Purgatory Pie Press Dikko Printing on his Vandercook
Also available uncut as a flat print in an edition of 50
For Pests of Public Importance Vollmer worked closely with Esther K. Smith on the idea and structure of a letterpress printed book. The Pests of the title are mosquitoes, carriers of a multitude of diseases beginning with but not ending with zika, yellow fever, dengue and malaria. The importance of these pests has increased exponentially this century because of the combination of transcontinental travel and global warming. There seems to be a mosquito species perfectly evolved for every small ecological niche in the ever more interconnected world. The power of these pests is in their numbers and their power of replication, which is reflected in the woodcut print with its rhythm of insects framed with a repeating classical palmette frieze.
Everything is handmade in this project: the detailed cutting was done with special Japanese tools and a magnifying light; the block was printed with oil-based ink by master letterpress printer Dikko Faust. Georgia Luna Smith Faust’s poem is a perfect compliment to the block print, resulting in a satisfying collaboration that is as elegant as it is disconcerting.
Featuring new and recent artworks by: Ellen Heck, Jenny Robinson, April Vollmer, Heather Swenson
Under Pressure: Redefining the Multiple is the first in a new series of collaborations between Rochester Contemporary Art Center and The Print Club of Rochester. Including national and regional artists, this exhibition reflects the ongoing efforts of the Print Club of Rochester to recognize a paradigm shift in how prints are considered and the expansion of the definition of print media.
Rochester Contemporary Art Center (RoCo) is a venue for the exchange of ideas and a not-for-profit 501(c)(3) that was founded in 1977. As a center for thoughtful contemporary art, RoCo provides unique encounters for audiences and extraordinary opportunities for artists.
The Brooklyn Botanic Garden’s Sakura Matsuri, Cherry Blossom Festival
Sunday, April 27 from 1:30 to 2:15 Main Auditorium
Welcome spring at the Botanic Garden, enjoy the spring flowers, the Japanese arts and crafts, and listen to a lecture about Japanese woodblock.
Since 1998 these yearly demonstrations have been an opportunity for the public to gain an understanding of the technical skill that goes into traditional Japanese printing, mokuhanga. It is a water-based woodblock method printed by hand, moku means wood, and hanga can be roughly translated as printmaking. It is the technique that was used to make the famous ukiy0-e “prints of the floating world.” Developed during the Edo period (1603-1868), this woodblock technique was used to print everything from books to advertisements, including the prints of Hokusai, Hiroshige and Utamaro. The artists supplied the drawings and a group of expert craftsmen, organized by a publisher, cut the blocks and printed the color blocks one at a time to create these wonderful Japanese prints.
GLIMPSE Printmaking Exhibition, with Debra Pearlman
ROCK SPRINGS — The Western Wyoming Community College Art Gallery will present Glimpse, the varied work of two printmakers, April Vollmer and Debra Pearlman, March 8 through April 25.
Friday, March 8, 2013 through Thursday, April 25, 2013
Western Wyoming Community College Art Gallery
2500 College Drive
Rock Springs, Wyoming
Southern Graphics Council International Conference, March 20-23, 2013 in Milwaukee, Wisconsin
Hosted by: Milwaukee Institute of Art & Design (MIAD) and Peck School of the Arts (PSOA)
Portfolio Exhibition: Material Muse: Japanese Paper Inspiring Print
organized by Sigrid Blohm, the Japanese Paper Place
The twelve artists included in this portfolio each work differently, but all have decided to use Japanese paper because its unique characteristics enhance their own prints in some way. In choosing to print on washi – paper made by many caring hands – each artist’s work becomes a merging of creative processes, those of printmaker and papermaker, and the results are richer for it.
Elizabeth D’Agostino, Brian Curling, Catherine Farish, Karen Kunc, Kristen Martincic, Emma Nishimura, Deb Oden, Loree Ovens, Liz Parkinson, Julia Prime, April Vollmer, Erik Waterkotte