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AcknowledgementsThe Boston Printmakers wish to thank our distinguished juror Willie Cole for selecting thisspectacular exhibit. We are grateful to Lesley University Dean of the College of Art and DesignRichard Zauft, Gallery Director Bonnell Robinson and Assistant Gallery Director Andre Mroczek forhosting the 2015 North American Print Biennial in the beautiful new Lunder Arts Center. We especiallyappreciate their dedication to excellence and enthusiastic support for The Boston Printmakers.Please take a look at the impressive list of material awards from our sponsors and the names ofour patrons in this catalog and you will see the many generous ways they champion our efforts tosupport printmakers and educate the public about the complex world of printmaking. We can’t thankour sponsors and patrons enough for this assistance in support of our efforts.Thank you to the 699 artists from 49 states, 7 Canadian provinces, Puerto Rico and Cuba for nearly2000 submissions. The number of entries truly represents a passionate response and furtherexpresses the relevance and vitality of contemporary printmaking.I would also like to thank the Board of The Boston Printmakers for their hard work and dedication.They not only pull together the North American Print Exhibition every two years but also our manymembers’ shows, travel opportunities, website and newsletter. I am continually inspired by theirloving commitment to the art of printmaking.Liz ShepherdPresidentThe Boston Printmakers Executive BoardLiz ShepherdRenee CovalucciChristiane CorcelleDeborah CornellSusan DennistonAlex GerasevEric GoldbergSharon HayesSandra CardilloStephanie Mahan StiglianoMarjorie JavanTheresa MonacoKy OberJulia TalcottLois TarlowMary TaylorDave ThomasBob TomolilloMalgorzata ZurakowskaVivian Berman – EmeritusSid Hurwitz – EmeritusThe prints in this exhibition are for sale; in many cases, multiple originals are available. Prints maybe purchased at the Lunder Arts Center at Lesley University College of Art & Design, or after theexhibition, by contacting The Boston Printmakers, Lesley University College of Art and Design,29 Everett Street, Cambridge, MA 02138 or by email: info@bostonprintmakers.orgISBN 978-0-9910464-2-3Copyright 2015 by The Boston Printmakers, Inc.

The Boston Printmakers2015North American Print BiennialThe Lunder Arts CenterLesley UniversityCollege of Art & DesignCambridge, MA2015 JurorWillie ColeNovember 8 – December 12, 2015

Juror’s StatementI am an artist who makes prints but I am not a printer. What I mean is that all my prints arecollaborative. I show up at a print studio with a concept or sketch and then throw myself at the mercyof the master printers who then execute my ideas. These master printers have been my teachers,both technically and aesthetically. They bring their technical expertise to every project and I bringmy vision. That’s what collaboration means. But the real creativity rises when my ignorance crashesinto their expertise. And when it does, that’s when I know I’m really doing my job. And what is myjob? My job is to push them beyond their scope of knowledge, and to challenge them to employunorthodox and innovative approaches to printing.With that said I will go on to say that, from the pool of entries for this year’s Boston Printmakers2015 Biennial, I selected the pieces that inspired me the most. They were the ones that showed thebroadest range of possibilities of what printmaking can be. They were the ones that triggered fullscenarios in my mind in a single frame without the use of words. They were techniques brilliantlyexecuted. They were stories well told and emotions deeply expressed.In a world where any and all things are possible, it was surprising that narrative story-like imagesseemed to dominate this year’s entry pool. In a way it felt as if I were selecting films for a festivalrather than prints for an exhibition, and that all my selections had to be made based on viewingjust one single frame from each film. The parallels with film and print were obvious to me not justin the subject matter but also in the lighting techniques, perspective, and point of view of many ofthe entries. Surrealism, German expressionism, film noir, Italian neo-realism, magic realism, andphotography in general were and apparently still are big influences on how we view and represent thehuman experience in printmaking, and maybe even in art in general.All the entries both confirm and emphasize that printmaking is the missing link between the so-calledfine arts, i.e. painting, drawing, and sculpture, and commercial or graphic arts, i.e. photography,film, type, and illustration. Perhaps that’s what pop art is, too. And if you agree with that then AndyWarhol, arguably the most famous printmaker of the 20th century, must have been Moses. We canblame or thank Andy for taking printmaking to new heights, at least in the marketplace. But thenumber of print editions he left behind dwarfs the number of technical innovations he achieved. Andit’s technical innovation that, in my opinion, makes real winners and really moves a medium forward.With so many entries moving in the direction of storytelling, all or any entries slightly lessrepresentational or narrative stood out most. They, more often than not, reflected popularmovements in western or European abstraction, and a clear understanding of art history, while atthe same time (pursued or not) offered the greatest possibility for the employment of innovativetechniques. And new techniques, not just in storytelling but in image execution, in my opinion, iswhat it should really be all about. I recognize that this is not any easy task. But think about thedifferences between classical music and jazz. Ask yourself how swing became bebop, and maybe youwill get closer to an answer. Mastering existing techniques and practices in any art form is just thebeginning.Willie Cole

The Boston Printmakers’2015 PatronsLynn BarlowAll Bright TravelStoneham, MAIn Memory of Ture BengtzDuxbury, MAJohn Bogis & Zoe CaulfieldWinchester, MAHelen Citron BoodmanLexington, MASusan BrokawWinchester, MALawrence Carpman & PamelaPriceMarshfield, MAPaul J. HayesHayes Messina Gilman andHayes, LLCBoston, MACarol Taylor & John DeknatelBrookline, MAMichael TucciBoston, MABrett J. HolmgrenRobert M. Curry and AssociatesBoston, MAKellee TwadellRose and Dove Specialty GiftsNorth Andover, MAHarriet Berkman Hunt andFamilyWeymouth, MASharon WalkeySaugus, MAKatherine Ingraham & RichardBerginBrookline, MAArthur & Phyllis LevineNewburyport, MALawrence & Catherine LingleyAmesbury, MADanny Y. ChangKoy-Korean Fusion RestaurantBoston, MAKevin M., Amy M., Amanda L. &Francesca A. O’BrienWinchester, MAJodi ChangArt and Frame SourceNorth Andover, MAStephen Perry & Oliver RadfordCambridge, MARenee CovalucciConcord, MALisa DuffyPrides Crossing, MAHoward I. GoldsteinNewton, MADonald & Kathleen GoliniReading, MADebbie & Michael HaganAndover, MAHeather & Jeremy PozenNewton, MAGilles QuintalJamaica Plain, MARobert RovenoltBoston, MAJudith & Hanno SteenBrighton, MAMeghan SullivanNorth Smithfield, RIKen & Kerry WashburnSwampscott, MAPamela YameenNorth Andover, MAWith Special Thanks ToFull Tilt Print StudioBoston MA

2015 Awards:Selection of the Juror, unless otherwise notedPurchase Prizes:The Boston Printmakers PrizeCollection: The Boston Public LibraryAbby DuBow, DisCards, mixed media monoprint on discarded library cardsThe Graphic Chemical PrizeCollection: Graphic Chemical and Ink Company, Villa Park, ILJon Goebel, Pursuit of Latitude, drypoint, aquatintThe Otis Philbrick Memorial PrizeCollection: The Museum of Fine Arts, Boston, selected by Cliff AckleyJenny Robinson, Infrastructure #2, drypointThe Ture Bengtz Memorial PrizeCollection: The Art Complex Museum, Duxbury, MALeah de Prizio, Cyrillic Diptych (3), woodcut on fabricMaterials Awards:Blick Art Materials, Galesburg, ILKathy Aoki, Gangnam Style (at the Moulin Rouge), lithographAndy Owen, Heatwave, collagraphBoxcar Press, Syracuse, NYDonna Catotti, Waiting for the Tide – Alaska, screenprintConstellation Studios, Lincoln, NEMarina Brownlow, Bloodline 4, monoprintGamblin Artists Colors, Portland, ORDonald Furst, 3:20am, mezzotintLina Monclus, Distortions, monotype, linocut, chine collé, sewing, drawing

Hiromi Paper International, Santa Monica, CAJustyne Fischer, Loosie Law, woodcut on voileLegion Paper/Moab Paper, New York, NYCoco Berkman, Petflicks, linocutRobbin Juris, FSA67 Abraham/Isaac, digital pigment printMcClain’s Printmaking Supplies, King City, ORNeal Harrington, Spirits, woodcut, India ink washMixit Print Studio, Somerville, MACoco Berkman, Down in the Grey Zone, reduction linocutMOO, Boston, MAAnn Conrad, Motherboard 1, intaglio, reliefMary Strandell, Mad Men Stairs (with Virginian Silver), 3-D lenticular printMuskat Studios, Somerville, MAHelen Cantrell, Suburbia Night Wind, woodcutOehme Graphics, Steamboat Springs, COJenny Robinson, Infrastructure #2, drypointSavoir-Faire: Charbonnel, Novato, CAVictoria Elbroch, One Unclouded Blaze, monotypeSavoir-Faire: Fabriano, Novato, CANorberto Marrero, Ventanas, artist bookSinger Editions, Boston, MAStanley Squirewell, Anyanwu II, acrylic on pigment printTakach Press Corporation, Albuquerque, NMJack Damar, Death of Whimsy, lithographZea Mays Printmaking, Florence, MAShirley Bernstein, Eye Cloud, reduction woodcut

ChecklistAll dimensions are in inches, height preceding width.* Member of The Boston Printmakers†2015 Juror AwardKathy AokiSanta Clara, CA1.Gangnam Style(at the Moulin Rouge) †Lithograph24 x 36 1350Kathy AokiSanta Clara, CA2.The Twerking LessonPhotopolymer intaglio8 x 10 650

Frances AshforthRidgefield, CT3.Water Study 33Monotype22 x 22 1100Frances AshforthRidgefield, CT4.Water Study 34Monotype22 x 22 1100June August *North Hampton, NH5.Kiss at L’Hotel de VilleScreenprint31.5 x 44 1175

Jane BanquerPeaks Island, ME6.Calm After the Big StormWoodcut13 x 14 200Stephen BarnwellWayne, NJ7.American Relief BondDigital print with mixed media11 x 8.5 300Stephen BarnwellWayne, NJ8.Perpetual War Bond, Series 2014Digital print11 x 8.5 300

Edward BatemanSalt Lake City, UT9.Specimen No. 1 from Five AnomaliesPigment print from 3D digital construction20 x 20 350Judy Bergman Hochberg *Canton, MA10.The CornfieldPolymer plate photogravure9.5 x 17 350Judy Bergman Hochberg *Canton, MA11.The Last Stop #2Polymer plate photogravure15 x 10 300

Coco Berkman *Gloucester, MA12.Down in the Grey Zone †Reduction linocut18 x 24 450Coco Berkman *Gloucester, MA13.Petflicks †Linocut36 x 24 180Shirley Bernstein *Hampton, CT14.Cloudy CeilingReduction woodcut10 x 22 450

Shirley Bernstein *Hampton, CT15.Eye Cloud †Reduction woodcut12 x 22 450Rebecca BleauGrass Valley, CA16.Ladies, Don’t Lose Your HeadsScreenprint23.5 x 13.5 650Becky BlosserLancaster, PA17.Trap Study 2Screenprint10 x 10 250

Becky BlosserLancaster, PA18.Trap Study 3Screenprint10 x 10 250David Blow *Hickory Creek, TX19.We All Go BlindDigital print12 x 20 350Marina BrownlowSanta Fe, NM20.Bloodline 1Monoprint40 x 30 2800

Marina BrownlowSanta Fe, NM21.Bloodline 4 †Monoprint40 x 30 2800Marina BrownlowSanta Fe, NM22.Bloodline 5Monoprint40 x 30 2800Rachel BruyaMadison, WI23.Meeting the SkyLithograph construction12 x 12 x 4 500

Quenby BucklaewJamaica Plain, MA24.Causeway Bay RushCollagraph, linocut, gum arabic transfer9x7 250Anne BurtonLincoln, NE25.CheerWoodcut13 x 19 225Helen CantrellOld Lyme, CT26.Suburbia Night Wind †Woodcut36 x 72 4000

Helen CantrellOld Lyme, CT27.Suburbia Pink NightWoodcut36 x 72 4000Sandra Cardillo *Framingham, MA28.Connections 1Solar plate etching15 x 11 300Sandra Cardillo *Framingham, MA29.Connections 2Solar plate etching mounted on wood panel8x8x2 250

Donna CatottiHaines, AK30.Waiting for the Tide - Alaska †Screenprint18 x 6 165Liz Chalfin *Florence, MA31.Peso TaxiEtching12 x 16 250Ann Chernow *Westport, CT32.MoonlightLithograph11 x 14 500