Cambridge Art Association Charles Norris’ “Unsure Dance IV’ ventures into three-dimensional printmaking at the “Proof of Concept” exhibit.
“Proof of Concept” is an art show full of experiments and even historical curiosities. Traditionally, printmaking is about woodcuts, etching, engraving and lithography, which transfers an image from stone; photography is added to this show by juror Liz Shepherd, a printmaker and sculptor who co-owns the Shepherd & Maudleigh Studio in West Newton. “I am not a stickler about what constitutes printmaking,” she says. “In fact, I relish pushing these boundaries in my own artistic practice.”
Cambridge Art Association Susan Murie’s “Veil 3” resurrects cyanotype, one of the earliest kinds of photography.
Deborah Epstein’s “Acadia” series uses small photogravure images – a photo printing process that fell out of use in the 20th century but has seen a small resurgence. Susan Murie’s mystical piece titled “Veil 3” is a cyanotype, invented in the 1840s for scientific and botanical illustration as one of the earliest kinds of photography. Murie elegantly encapsulates the middle point between photography and printmaking, with a dash of watercolor thrown in. In Patricia Martini-Daly’s “Print in Motion,” a copper etching of a bird is set in motion, crossing over even into the realm of cinema.
“Proof of Concept” through June 18 at Cambridge Art Association, 25 Lowell St., West Cambridge. Free.
Cambridge Art Association Wendy Prellwitz prints from Stone for her work in “Proof of Concept.”
Share your own 150-word appreciation for a piece of visual art or art happening with photo to [email protected] with the subject line “Behold.”
