CALL FOR SUBMISSIONS - MAIN GALLERY
SNAP welcomes submissions from artists, collectives, and collaborations etc, practicing in all print and print-related mediums. SNAP’s Main Gallery Space is programmed through an annual call for submissions as well as through curated exhibitions.
The SNAP Gallery programs eight Main Gallery exhibitions every year. Programming is determined annually by jury from submissions.
SNAP Main Gallery Submission Requirements
Project proposals should consist of:
(i) 10 – 15 numbered high quality digital images on OSX Apple-Mac compatible disc (slides are not accepted)
(ii) Corresponding image list indicating the artist’s name, title of work, media and date
(iii) An artist statement which describes and contextualizes the work presented. (maximum 2 pages)
(iv) C.V. (artist resume) (maximum 3 pages)
(v) A project proposal explaining the specifics of the proposed exhibition. (maximum 3 pages)
(vi) 1 – 2 items of support materials as appropriate (DVD, Publications, Print Articles). These support items will not be returned.
(vii) Please indicate which work will be included as well as any extraordinary assistance required, including technical support)
PLEASE NOTE:
A) Going forward SNAP will be accepting submissions ONLY IN ELECTRONIC FORM. Please send all written support as a single PDF and images in JPEG form on one CD. Please do not send any paper or include a return envelope. Please do not email submissions.
B) Digital images: Should be in JPEG format, 300 dpi and sized to 1000 pixels maximum on the longest side. File names should correspond to the image list.
TIPS:
* PLEASE DO NOT EMAIL SUBMISSIONS
* Please burn all materials to ONE disc: application form, PDF written support and JPEG images. An additional DVD may be submitted for video work, however please ensure this does not exceed 5 minutes in length.
* Proposals should be clearly and concisely written.
* Make sure that your name and the title of your project is clearly marked on each part of your submission, including all of your support material(s).
* Please do not send Powerpoint presentations, slides, printed images, or VHS tapes as these will not be reviewed.
* Do not send original works of art.
* Do not submit a website address in lieu of digital files.
* Please ensure images are high quality and large enough to permit viewing
* All digital information submitted as part or in support of your portfolio must be viewable on a Mac OS X
* Due to the large volume of submissions, incomplete proposals or those that exceed the maximum number of requested pages/support material will not be reviewed.
For information regarding submissions and the review process, please contact SNAP staff.
Deadline for SNAP Main Gallery Submissions: February 16th, 2010.
Main Gallery Submissions should be addressed to:
Main Gallery Programming Committee
Society of Northern Alberta Print-artists (SNAP)
10309 – 97 Street NW, Edmonton, Alberta, T5M 0M1, Canada
SNAP pays CAR/FAC fees.
For contact info click here
Click here for Snap Gallery floor plan PDF
CALL FOR SUBMISSIONS - STUDIO GALLERY
SNAP is currently accepting proposals for its front fundraising space. The Studio Gallery Space allows for exhibition of works for sale to the public in a highly visible location. It also allows for the exhibition of print and print-related art by emerging artists. Submission guidelines:
(1) 5-10 visuals (slides or photographs or OSX Apple-Mac compatible disc of high quality digital images (which have not been altered in photoshop or in any other way, and thus truly represent the prints appearance).
(2) artist statement,
(3) Exhibition proposal & description,
(4) current CV.
Submissions may be made on an individual basis or as a duo or a group/collective. Submitting artist(s) is a current member of the Society of Northern Alberta Print-artists. Works must be print-based. All works must be for sale. 50% of all sales will go to support SNAP’s ongoing programming, 50% is remitted back to the artist. Any unsold pieces will be returned to the artist. Works must be presentation ready. SNAP can lend artists frames, however, we do not pay for presentation costs or shipping of artwork. For more information, please contact SNAP Gallery at 780.423.1492 or snap@snapartists.com
Click here for Snap Gallery floor plan PDF
NOTE: No deadline for submissions to SNAP’s Studio Gallery. Proposals are accepted on an ongoing basis.
Studio Gallery Submissions should be addressed to:
Studio Programming Committee
SNAP
10309 – 97 Street NW
Edmonton, Alberta
T5M 0M1
Canada
Studio Gallery Submissions should be addressed to:
Programming Committee (Studio Gallery)
Society of Northern Alberta Print-Artists
10309 - 97 Street NW
Edmonton
T5J 0M1
Alberta
Canada
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PROSPECTUS
New Works form Members of the Society
of Northern Alberta Print-Artists
Sean Caulfield | Chung Cheuk Hung | April Dean | Karen Dugas
Gerry Dotto | Kyla Fischer | John Graham | Zoe Henry
Liz Ingram | Walter Jule | Linda Jules | Teresa Kachanoski
Eveline Kolijin | Agnieszka Koziarz | Edith Krause | Mitch Mitchell
Matthew Rangel | Marc Siegner | Eric Steenbergen
Holly Sykora | Anna Szul | Akiko Taniguchi | Lisa Turner | Caitlin Wells
Opening Reception:
Thursday September 10th, 7 pm
Exhibition Duration:
September 10 – October 17, 2009
Venue: SNAP’s Main Gallery
Statement:
Since its inception in 1982 SNAP has regularly held exhibitions of its members, celebrating the collective energy that has maintained
this shared workshop, this labor of love. And labor it is, at times overwhelming, at times bone numbing and at times bone crushing.
We have moved a few times over the years, each time striving to “make it better”, the thought of it brings back memories that I’m sure are better left buried deep in the dirt and clay beneath our feet. It is truly amazing that despite all of the trying times there have been even more wonderful experiences that we continue to celebrate and recall with laughter and joy.
Still, what is it about this place, in Edmonton, Alberta, Canada, too far north for much of a summer, so flat you can see the weather coming long before it gets here, so dry, with way too much winter. My theory is that with all of that weather there is lots of time to get cozy, to think, to make art and even enough time to keep SNAP ticking along. Well it must have been a long cold winter (for quite a few years) because SNAP has been doing more than just tick along. We are inspired and invigorated by our many recent successes, events like Edmonton Prints 2008 and Edmonton Print International 2008, an ever-expanding roster of internationally acclaimed print artists exhibiting in our gallery and the many prizes, awards, and successes of our members locally and abroad.
SNAP is a collective and as such is a reflection of its member’s abilities and contributions. SNAP is its’ membership and everything
it has achieved is the result of the hard work and energy of everyone involved. This latest members show is only a small
portion of the potential that is bubbling and growing in the studio and coursing through the veins from the hearts to the minds and eventually to the fingers of the printmakers that make SNAP their home.
Printmaking by its very nature is graphic and it is this quality that underscores an intensity which demands intimacy. This intimacy at times can be explained by the nature of the work, drawing-like, detailed and dimensional. The intimacy is also due to the scale of the work, tending towards small or medium sized pieces of paper.
All of these characteristics help us lean in and get physically
closer to the work in order to examine the mark-making and the many details as we inquire to ourselves, “What is that?” or “How was that done?”
The prints in PROSPECTUS talk about the intimacy and immediacy
of drawing and mark making and how important it is to connect on a very physical level to ideas that manifest themselves in this ancient art form. Perhaps even more important these days is the use of analogue methods in the age of digital where the contrast alone forces us to consider the validity of both methods. The methods employed by our members are varied and they include both analogue and digital. It is interesting to regard each artists approach and how they interpret mark-making and which combinations of mark-making are appropriate for their particular vision. I suspect that the possibilities available in the digital realm will allow for an even greater degree of intimacy and sophistication
for those that choose to combine it with their analogue methods. Those that remain ensconced in the analogue will also benefit from the digital by virtue of the contrast their work will provide in comparison.
Whatever the method, in the end SNAP will continue to provide an engaging and stimulating dialogue with communities at home and abroad as well as a nurturing environment where their methods
and decisions will be realized as an artistic practice.
—Marc Siegner, September 2009
In 2010 PROSPECTUS will be hosted by:
Graff, centre de conception graphique
Presented at ARPRIM, Regroupment pour la promotion de l'art imprimé
372 Ste-Catherine St. West, #426
Montreal, Quebec
February 27th — March 10th, 2010
&
Belfast Print Workshop
Presented at The Cathedral Quarter Festival
BPW, Cotton Court 30–42 Waring Street
Belfast, Ireland
May 6th — 31st, 2010
MATT REBHOLZ
MALFUNCTIONING MEAT ROBOT
Opening Reception:
Thursday July 23rd, 8pm
Exhibition Duration:
July 23rd – September 5th, 2009
Venue: SNAP’s Main Gallery
Statement:
The Golem project is a suite of twenty etchings inspired by the tale of the Frankenstein-esque figure from Jewish folklore. Perhaps the best known of the Jewish legends, the Golem is an automaton, usually made from mud or clay and created through an intense and systematic mystical process. In Hebrew, the word golem refers to something unformed and imperfect, and implies a body without a soul. The narrative arc of the prints is a loose re-imagining of the 1915 Gustav Meyrink novel Der Golem, in which the title character wanders the streets of a corrupt and ruined city, blissfully unaware that he is a malfunctioning meat robot and not truly a man.
The prints are organized in a theatrical fashion, the spaces constructed as though they were the sets of a stage play and the players carefully arranged within them. Oftentimes in the more recent prints, the environments become more important than the figures, sometime to their ultimate exclusion. These elements conspire to form a series of intimate, allegorical vignettes pregnant with obscenity and metaphor. The grotesque tableaux of The Golem are peopled by a cast of damaged characters eager to do each other harm. They occupy a polluted and uneasy dreamscape, a fairytale in which deranged actors struggle to find their role in a stage play they do not quite understand. Within this environment, the Golem serves as a metaphor for humanity adrift in an absurdly dystopian world. As The Golem project ran its course, it deviated significantly from Meyrink’s original narrative, becoming less and less concerned with the original storyline. As it metastasized and evolved thematically, the imagery became increasingly concerned with my own thoughts about contemporary society and the manifestations of consumption, ingestion, greed and expulsion within it.
ANTHEA BLACK
SURRENDER NO SURRENDER
Opening Reception:
Thursday July 23rd, 8pm
Exhibition Duration:
July 23rd – September 5th, 2009
Venue: SNAP’s Studio Gallery
Anthea Black is an artist, art writer and cultural worker based in Alberta, CANADA. Her projects in printmaking, collaborative performance, writing and curating take various forms, but most often feel at home within Canadian artist-run centers. In 2007, she launched looking for love in all the wrong places, an artist-curatorial project that commissions, produces and distributes posters and editions by queer artists for public spaces in Alberta and beyond. The project has since included collaborations with Daryl Vocat (Toronto), Karen Campos (Edmonton), Megan Morman and Cindy Baker (Saskatoon), Carol Maxwell (Texas) and Shawna Dempsey and Lorri Millan (Winnipeg). Anthea has recently exhibited as part of Gestures of Resistance in Dallas TX, Future’s So Bright at TRUCK: Contemporary Art in Calgary, GENDER ALARM! Nouveaux féminismes en art actuel at La Centrale in Montreal, and was SNAP´s Artist in Residence this winter.
SURRENDER NO SURRENDER includes poster editions from Anthea Black’s collaborative looking for love in all the wrong places project and new works from her residency at SNAP this winter. As SNAP´s Artist in Residence, Anthea made a new poster edition for public spaces, printed silkscreen wallpapers and textiles, and learned how to use SNAP´s Vandercook letterpress.
Mark Bovey
The Ledge_ Suite
Exhibition Duration: June 4th – July 18th, 2009
Venue: SNAP's Main Gallery
Over the past year I have been making work that questions our relationship with the consumer culture we are embedded in. From a Canadian context it seems that since 9-11, our perception of the world has been confirmed as shifted from one of some trust and security in the free capitalist democratic system to one of philosophical unrest and confusion; that we have been jarred into the reality of our unstable world, whether political, environmental, or ideological realms which are undoubtedly linked. What or who should we trust or even listen to? This is the result of our inability to fathom, but reliance on, the abstract complexity of the ocean of information, both factual and rhetorical, that we try to process. As it piles up, the effect is numbing and creates individual and collective amnesia, attention deficit, procrastination, and insecurity. French philosopher Jean Baudrillard suggested in his 2003 work “Passwords” that this confused state
of disconnection forces a society to probe history to ground us and locate meaning. Probing history, both past and recent through printed images forms the basis of the ideas I explore through printmaking.
In my work I try to present this complexity by merging an array of image sources from antique illustrated science and humanity texts to virtual images from the Internet and between. The symbolic exchange via digital and analog technologies, are compressed in the printmaking matrix whether digital or physical. I hope that the work is both a residue of my collective experience while also being an image landscape open to a multitude of operative readings, or an open or rhizome- structured experience. It seems more now than ever that the modes of experience and belief systems are intertwined, that all fields of inquiry are in question, that the virtual is a new reality, perhaps the only place to locate a new utopia outside of the imagination while also taking control over the way we
experience the world as mediated.
What of printed “Images”, symbols of the transcribed physical world, constructions, technologies? A printed image is the record of thought(s) or idea(s) as Joseph Beuys terms it “thinking as form”- experience that is
connected to its context by its form, “an experience” but not necessarily a fact or truth except in its existence. At their best, printed words or images are records of human inquiry, technologies revealed, attempts to find meaning, to connect with others, of having been here: a shared stick in the sand hoping to link us with others of like and other experience. In the virtual sphere, the image on the screen is only an image, and not an image-record because of its fragile nature lacking concrete form: purely technological. The only thing more illusive is the image in our imagination. Because of the reliance on energy to reveal this image we cannot fully trust
its authority because of its ability to be altered, enhanced or abstracted. It seems that today we live in a complex image culture that is driven by these technologies, that the image field has expanded and we are not sure that we trust where we are being led. What of the effect of layered images on our ways of understanding the world? These are the questions that I am interested in and that I try to make works that integrate the complex field of images that we experience today. The questions seem to be, what are we seeing, and how does what we see inform or confuse us? At the root we
seem to be wondering where to look.
April Dean
Raw Materials and Rose Coloured Glasses
Exhibition Duration: June 4th – July 18th, 2009
Venue: SNAP Studio Gallery
This new series of print works by Edmonton artist April Dean explores optimistic beauty in isolated forms by extracting environment and honing in on the complex yet simple. This work speaks of an emotional separation from the natural and puts on display the delicate and sublime that, it seems, we often struggle to find in ourselves.
varsolsa:
Senior Printmaking Exhibition 2009
This exhibition is the fourth annual senior print exhibition to be held at SNAP and is the result of the vital ongoing collaboration between SNAP and the printmaking area
at the University of Alberta. Showcased are over 60 print works produced by seventeen dedicated and talented students in senior printmaking classes in the Department
of Art and Design. For many of these young artists - Laila Aslund, James Boychuk-Hunter, Eric Burton, Nathan Grimson, Zoë Henry, Thalia Ip, Ula Kaniuch, Agnieszka
Koziarz, Martina MacFarlane, Nick Milette, Chae Sevier, Emily Soder- Duncan, and Nicole St. Jean- this show provides a bridge to a new phase in life as they complete
their BFA degrees and are poised to carry on as artists, to apply to graduate programs, or to work as professionals in fields related to Arts and Culture. For others - Matthew
Arrigo, Edith Krause, Patrick Reed, and Ryan Wolters - this work is indicative of another turning point. First year courses in graduate school have just been completed and
these four graduate students are now ready to embark on the development of their major solo thesis exhibitions for their MFA degrees.
In September 2008, for the senior students, the year started with a very unique and special experience. Their first assignment involved a practicum that brought them into
intimate contact with outstanding prints from around the world. As they helped to install the Edmonton Print International show (EPI 2008, organized by SNAP and
presented at the Capital Arts Building and SNAP Galleries), they each selected and wrote about a few artists whose works they found inspiring. Eight months later the experience and exposure to such diverse and exciting work resonates in many of the prints presented in this exhibition.
Varsolsa represents a broad variety of conceptual concerns expressed with a range of printmaking techniques and media. Zoë Henry explores notions of transience, impermanence and time through her layering of disappearing and appearing veils or surfaces. Her use of repetition, rhythm and the material richness of media such as etching and collagraph give these prints an enduring timeless presence. James Boychuk-Hunter challenges our understanding of the urban monument. Through his mastery of photography, his sensitive choice of image, and his use of etching, letterpress
and combinations of word and image, he elevates overlooked remains of structures to re-present them as monuments to daily urban living. These prints and bookworks are rich with a sense of a history of the everyday. Also working with ideas of memory, history and the “ordinary” through both bookwork and print is Emily Soder-Duncan. Through a “hands on” physical and gestural approach to her photographic sources, she deconstructs and re-presents both home and industrial constructs in a variety of transient states.
Narrative is evident in the works of the following artists: Eric Burton collages sources into existential fantasies, creating rich and colourful litho and screen prints, and mixed media collages; the bookwork of Laila Aslund retells a familiar tale through simplified graphic forms; and the prints of Nathan Grimson reveal his interest in popular culture symbols and their unexpected narrative value as signs when they are re-contextualized.
Martina MacFarlane and Chae Sevier are exploring the human figure as subject and, in both cases, their own bodies have been the source of some prints this year. Martina’s investigations deal with issues of identity, considering both the importance of hairstyle in constructing notions of self, and hair as an important genetic identity marker. These works also explore the attraction and repulsion duality of our emotional responses to hair.
On the other hand, Chae’s use of the figure and her own body is based on a desire to play “with ideas of hiding and concealing as well as revealing the body” and “to move away from the obvious representation of the figure and rather address a trace or presence of the body”. Wax casts of sections of her body are transformed into suggestive, mysterious and sensual prints through the use of soft ground drawing and
photo etching.
Agnieszka Koziartz, Nick Milette, Ula Kaniuch, Thalia Ip and Nicole St. Jean are all inspired by investigations into nature and/or issues of ecology. Ula and Nicole address the tension between our desire to conserve and our tendencies to exploit using a combination of digital and screenprinting techniques. Thalia works with gesture as nature, exploring her own expressive instincts in large screenprints that are informed by traditional Chinese landscape. Agniezska’s obsessively drawn lithographs often originate from organic remnants in nature; piles of dead leaves are transformed into
floating or pulsing unfamiliar life forms. Nick Milette interrogates traditional notions of
landscape in his large bookwork and in his other prints in the show. His inventive experiments with technical methods combining UV screenprinting and collagraph have resulted in a rich and varied vocabulary for his investigations, which visualize the invisible and insidious aspects of our environment often created as
by-products of technology.
The rich variety of visual sensibilities, conceptual concerns, and technical methods represented in this show offers the viewer a challenging and provocative experience that
hopefully will raise questions and bring pleasure and contemplation. Congratulations are due to all the participants who have worked so hard. It has been a great pleasure
for me to have worked with each of them over the past year. This exhibition represents a celebration of imagination, hard work and the creative spirit!
Liz Ingram, May 2009
Joscelyn Gardner
Missionary Position
Exhibition Duration: January 8 – February 21, 2009
Venue: SNAP’s Main Gallery
Diary entries made by 18th century Jamaican plantation overseer, Thomas Thistlewood, in which he shamelessly recorded his countless sexual encounters with dependent female slaves, inspire the elegantly stylized lithographs in Joscelyn Gardner’s exhibition Missionary Position. Both attractive and repellant, these hybrid images of the tools of torture used during slavery entwined within exquisitely braided hair seduce the viewer and open up a space for contemplating the shared (repugnant) experience of slavery and its after-effects. While giving a voice to the women who were often lost to anonymity on colonial plantations, they simultaneously veil the repulsiveness of the painful history they both trace and subvert. By referencing colonial printed portraiture and “natural” history books that functioned to confirm particular forms of (constructed) knowledge, the work questions the depravity of the plantation system and leaves the viewer to ponder the wider implications of a colonial discourse which supported the violent subordination of enslaved peoples as a ‘natural’ right of white (male) privilege.
Biography
Joscelyn Gardner is a Caribbean/Canadian visual artist working primarily with print-making and multi media installation whose practice focuses on her (white) Creole identity from a postcolonial feminist perspective. She has an MFA from the University of Western Ontario and a BFA & BA from Queen’s University, Kingston, Ontario. Her work has been exhibited in solo exhibitions in the USA, Canada, and the Caribbean. Recent group exhibitions include Brooklyn Museum, New York (2007), International Print Center New York (2007), International Print Triennial Vienna, Austria (2007); Fondation Clement, Martinique (2008). She currently teaches in the School of Contemporary Media at Fanshawe College, London, Ontario, and works as an artist between Canada and the Caribbean.
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Joscelyn Gardner
Quasheba
2007
stone lithograph on frosted mylar
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Eric Steenbergen
Triage: an illustrated guide to tree surgery
Exhibition Duration: January 8 – February 21, 2009
Venue: SNAP’s Studio Gallery
Eric Steenbergen attempts in his work to create a satirical history of scientific progress; in this case, a fictional guide to tree surgery, which presents an absurd methodology. The work in ‘Triage: an illustrated guide to tree surgery’ is largely based on W.S. Merwin’s poem Unchopping a Tree, which evocatively details the process of righting a tree after chopping it down. It the artist’s hope that the poem’s muted instructional tone and the incongruity of the prescribed methods and goals find voice in these images. The poem and Eric Steenbergen’s work ask us to question the effectiveness of our regulatory institutions with the goal to spark critical discussion of our most pressing environmental issues. This exhibition is part of SNAP’s ongoing ‘In Progress’ series featuring works by University of Alberta MFA candidates.
Biography
Eric Steenbergen is a print artist from Toronto, Ontario. He is a master in Fine Arts Candidate Printmaking at the University of Alberta, and received a Bachelors in Fine Arts (Honours) from York University, Toronto. His work has been exhibited in solo exhibitions in Modern Fuel Gallery, Kingston Artist Association, Kingston ON (2001), the Centre for Fine Arts Gallery (2002) and AKASA Gallery (2003) at York University. Recent group exhibitions include Edmonton Prints, Society of Northern Alberta Print-artists, Edmonton AB (2008); None of the Above, Society of Northern Alberta Print-artists, Edmonton AB (2007); AP Sale, Open Studio, Toronto ON (2006). He was awarded the Melba Sadler Graduate Scholarship (2008) and MFA/MDES Scholarship (2007-2009) and the from the University of Alberta. www.steenbergen.ca
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Eric Steenbergen
Thoroughfare
2008
etching
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Mitch Mitchell
Tar Plane Wayfarer
Exhibition Duration: January 5 – 23, 2009
Venue: Red Strap building (adjacent to SNAP)
Tar Plane Wayfarer is an art piece involving elements of installation and sculpture. The focus is not a finished work fixed in time and space, rather the nature of the work is temporal and exists as a performance in an architectural space for a predetermined time. Within a limited set of parameters I will construct a landscape with no definite end in order to explore the repulsion /attraction dialectic surrounding the aesthetics of humanity’s dramatic impact on landscape. As an event in perpetual creation/destruction this work is designed to mimic the current dialogue of the Tar Sands project in northern Alberta and the relationship with a human audience.
The venue brings to the work an element of voyeurism with a relationship to consumer culture which implicates the audience in the process. When looking upon the work the audience becomes purveyor of the social argument embedded in the structure of the creative process making fluid the elements of time and place in the work. The relationship of the audience to the work is integral as the work will be in constant flux much like that of the Tar Sands Project, a piece for which we have all become implicated as an audience.
Biography
Mitch Mitchell is an interdisciplinary artist from Illinois. He is a master in Fine Arts Candidate in Printmaking at the University of Alberta and received a BFA with Honors in Illinois State University. His work has been exhibited in solo exhibitions at The Green Door Gallery, Chicago, IL; The Flat, New Orleans, LA; Honolulu International Airport, Oahu, HI; Illinois State University, IL; Society of Northern Alberta Print-artists, Edmonton, AB. Recent group exhibitions include Edmonton Prints, Society of Northern Alberta Print-artists, Edmonton, AB; None of the Above, Society of Northern Alberta Print-artists, Edmonton AB; Successors: Illinois State University Printmaking Alumni Portfolio” Illinois State University; Landscapes and Mud Bogs, Improv Artist Studio, New Orleans, LA; and recently been included in the Biennale Internationale d’estampe Contemporaine de Trois-Rivieres, Trois-Rivieres, Quebec (upcoming); Beyond Printmaking” Texas Tech University. Lubbock, TX (upcoming). He is the recipient of many grants and awards including Faculty of the Arts Dean’s Recruitment Fellowship, UofA, Alberta Foundation for the Arts Graduate Scholarship in Art and Design, Elizabeth Stein Art Scholarship, and Best of Show at the Sangamon County Art Fair.
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Mitch Mitchell
Image from Tar Plane Wayfare
2008
mixed media
variable dimensions
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Wieslaw Haladaj
Wieslaw Haladaj Prints
Jan 11 to Feb 24, 2007
Reception: Jan 11, 7-9 pm |
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Lynne
Allen
Truth is Like a Slippery Fish
Oct 13 to Nov 25, 2006
Reception: Oct 23, 7-9 pm |
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Helen Gerritzen
trachea and the hero and other such stories
Oct 25 to Aug 7, 2006
Reception: Sept 7, 7-9 pm |
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Print Arts Northwest
Golden Thread
July 20 to Aug 16, 2006
Reception: July 20, 7-9 pm |
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Giorgia Volpe
Inside Out
June 1 to July15, 2006
Reception: June 29, 7-9 pm |
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