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New Additions to the AP/RC: Kent Kapplinger

New Additions to the AP/RC: Kent Kapplinger

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New Additions to the AP/RC: Joyce Tenneson

New Additions to the AP/RC: Joyce Tenneson

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New Additions to the AP/RC: Vernon Fisher

New Additions to the AP/RC: Vernon Fisher

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New Editions to the AP/RC: Larry Fink

New Editions to the AP/RC: Larry Fink

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Kristin Capp

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Mort Baranoff

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Margo Kren

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Caleb Cain Marcus

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The AP/RC has a rich archive of editioned prints, proofs, acetates, collages and related materials by Wayne Kimball. The AP/RC even has some of his tests for exploring various color mixtures of ink. Presently numbering just over 550 works, all but a few were donated by the artist. Kimball, who lives in Utah, is a master lithographer…one fellow printmaker refers to him as the ultimate contemporary chromolithographer.

Kimball’s mysterious and often humorous images are created with rarely matched craftsmanship. For decades he has been devoted to documenting step by step the development of a specific print. Several of these “process portfolios” in the collection of the AP/RC contain more than 50 black and white proofs, color proofs, trial proofs and progressive proofs for an individual print. In several cases, Kimball constructed a hand-made portfolio box to hold the 50+ images and a hand bound booklet to guide one through the maze of proofs.

Kimball’s recent donation is a bit different. He gave a variety of the acetates used to create two images, Things the Renters Left Behind and Things the Previous Owner Left, both from 2019. Perhaps a reference to his move from his home to an apartment, Kimball provided the AP/RC with one of each of the editioned lithographs and four trial proofs of Things the Renters Left Behind and two trial proofs of Things the Previous Owner Left Behind. These proofs give viewers a peek into the artist’s decisions about which of the variations he choose to edition.

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Wayne Kimball; Things the Renters Left Behind, 2019; lithograph; 272x382mm; 50/50

Wayne Kimball; Things the Renters Left Behind, 2019; lithograph; 272x382mm; trial proof

Wayne Kimball; Things the Renters Left Behind, 2019; lithograph; 272x382mm; trial proof

Wayne Kimball; Things the Renters Left Behind, 2019; lithograph; 272x382mm; trial proof

Wayne Kimball; Things the Renters Left Behind, 2019; lithograph; 272x382mm; trial proof

Wayne Kimball; Things the Previous Owner Left, 2019; lithograph; 272x382mm; 36/36

Wayne Kimball; Things the Previous Owner Left, 2019; lithograph; 272x382mm; trial proof

Wayne Kimball; Things the Previous Owner Left, 2019; lithograph; 272x382mm; trial proof

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

Wayne Kimball; Things the Previous Owner Left, 2019; acetate

    New Additions to the AP/RC: Wayne Kimball The AP/RC has a rich archive of editioned prints, proofs, acetates, collages and related materials by Wayne Kimball.

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John Robert Craft lives and works on a ranch about 70 miles southeast of Amarillo, Texas. The land has passed down in his family over several generations. Mostly he raises cattle but has indulged in a wide variety of pursuits, among his most serious and long term are sculpture and printmaking.

The distance between Craft’s sculpture-making and printmaking is intentionally short. He shapes strategies that undulate between these 3D and 2D disciplines. I’m tempted to say that there is a dialogue between them but this suggests that the activities are readily separable. On the contrary, Craft’s printmaking and sculpture-making often seem seamless, more like vibrations that move through his work and find expression in both.

The AP/RC recently acquired ten prints from Craft (all printed at Flatbed Press in Austin, TX), four of which are housed in a boxed portfolio that includes a colophon. The portfolio, part of his “CMY Series” (cyan, magenta, yellow), was created in 2019 by taking what he calls his “simple point” sculptures and placing them in exacting configurations on metal plates, biting the plates with acid, and then printing them with combinations of cyan, magenta and yellow inks. The images include three different arrangements of the “simple points”: Four Point, Five Point Collapsed, and Five Point Expanded. In addition, the metal plate matrices had been tossing about for two years in the back of his ranch truck. The abrasions that resulted created a rich ground of plate tone.

The AP/RC obtained Five Point Expanded for its collection. There are four images in the portfolio each printed with a different combination of inks. The first is printed with cyan/magenta, followed by yellow/magenta, cyan/yellow, and cyan/yellow/magenta. The four prints are housed in a plywood box that also includes one of the “simple point” sculptures, a Five Point Expanded, used in creating the imagery.

Most of Craft’s sculpture is cast in ferrous metal, a process that involves intense heat. Five of his prints in the AP/RC are part of his “Heat Series,” creating links between the formation of his sculptures and his development of a printable matrix. In the “Heat Series” Craft placed select cast iron sculptures on steel plates and re-fired them in a 1800 degree F furnace at a foundry. The sculptures acted as a resist. The heat, oxidation and scaling during the firing degraded the metal plates. He calls these works “fire etchings”. When the plates were printed in 2015, the surface debris from the firing was not cleaned from the matrices. As oxidized bits and scaling mixed with metal-infused inks (graphite, aluminum, and oxides were mixed with the inks), the pressure of the printing press transferred the residues as well as the ink to the surface of the paper. The metal plates were rough and deeply eroded in areas, causing the paper to tear and creating obvious relief (along with the bits of metal debris) on the surface of the paper. The AP/RC has two groups of works from this series; the long and narrow (12×120 inches) Diamondback and Degradation Study 4, a polyptych of four, four inch square images.

Craft has also used his sculptures as carving tools for wood relief matrices. In Full Circle (2011), the artist turned, pushed and dragged one his sculptures on top of a sheet of birch plywood. The raised points on the cast ferrous sculpture abraded and removed parts of the wood. The matrix was rolled up with black ink and printed.

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John Robert Craft; CMY 5 Point Expanded, 2019; intaglio; 8×8 inches

John Robert Craft; CMY 5 Point Expanded, 2019; intaglio; 8×8 inches

John Robert Craft; CMY 5 Point Expanded, 2019; intaglio; 8×8 inches

John Robert Craft; CMY 5 Point Expanded, 2019; intaglio; 8×8 inches

John Robert Craft; portfolio box and sculptures for CMY 5 Point Expanded

John Robert Craft; Diamondback, 2015; intaglio; 12×120 inches

John Robert Craft; Diamondback (detail), 2015; intaglio

John Robert Craft; Degradation 4A, 2015; intaglio; 4×4 inches

John Robert Craft; Degradation 4B, 2015; intaglio; 4×4 inches

John Robert Craft; Degradation 4C, 2015; intaglio; 4×4 inches

John Robert Craft; Degradation 4D, 2015; intaglio; 4×4 inches

John Robert Craft; Full Circle, 2011; wood relief; 39×39 inches

    New Additions to the AP/RC: John Robert Craft John Robert Craft lives and works on a ranch about 70 miles southeast of Amarillo, Texas. The land has passed down in his family over several generations.

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Penny Cerling has been a pillar for over three decades in the fine art printmaking environment of Houston, Texas. She has also been a staunch supporter of the AP/RC, donating her artworks as well as many prints by artists with whom she collaborated as master printer. She worked from 1980 to 1990 at Little Egypt Enterprises, a print shop started by David Folkman. Then she opened Cerling Etching Studio which was active until about 2000. Currently she dedicates most of her time toward creating drawings on paper or wood.

Combing through her archives, Cerling found several of her etchings, mostly from the 1980s, and one work that she printed in collaboration with Richard Thompson. These donations from Cerling and her husband, Jeff Skarda, added important artworks to her archive at the AP/RC. It is an exceptionally valuable archive because it contains Cerling’s individual creative efforts as well as her collaborations with other artists, a rich and varied resource for grasping the transitions between artist and printer.

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Penny Cerling; Etching Press, 2002; etching; 762×570 mm

Penny Cerling; Zappa Cells – memorial for Frank Zappa, 2003; etching; 148×312 mm

Penny Cerling; Street Palm – Montrose @ Lovett, 1984; etching; 764×484 mm

Penny Cerling; Cactus Flower, 1981; etching and aquatint; 765×566 mm

Penny Cerling; North Freeway; etching; 225×300 mm

Penny Cerling; Memorial Drive, Houston, 1985; 216×298 mm

Penny Cerling; Skate Egg, 1981; etching; 603×448 mm

Penny Cerling; Scissors, 1982; 28×300 mm

Richard Thompson; Dreamer at Dawn, 1982; etching and aquatint; 455×595; printed by Penny Cerling

New Additions to the AP/RC: Penny Cerling Penny Cerling has been a pillar for over three decades in the fine art printmaking environment of Houston, Texas.

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While the AP/RC focuses almost exclusively on printmakers who directly control their work from conceptualization through printing, on occasion we add artworks to the collection which were printed at a professional fine art print shop such as Lawrence Lithography Workshop (Missouri), Tamarind Institute (University of New Mexico), P.R.I.N.T. (University of North Texas), Flatbed Press (Texas), Landfall Press (New Mexico), Black Rock Editions (New Mexico), Shark’s Ink (Colorado) and others. In these shops, an artist collaborates with skilled printers and knowledgeable publishers. The addition of these artworks help the AP/RC present a more comprehensive view of printmaking in the western United States.

Lawrence Lithography Workshop, established and managed by Mike Sims, has since 1979 contributed to the print culture of the United States and, perhaps more especially, of the midwest and southwest. As it names suggests, Sims opened his printmaking shop in Lawrence, Kansas. Now located in Kansas City, Missouri since 2001, the shop had a short venue (1997-2001) in Sunland Park, New Mexico (next door to El Paso, Texas). The seven works below are all by artists–Richard Dishinger, Roger Shimomura, and Warren Rosser–who lived and worked in Kansas.

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  Richard Dishinger; Wrong Number, 1990; lithograph; 865×690 mm

Richard Dishinger; Rodeo, 1991; lithograph; 1050×790 mm

Richard Dishinger; Last Round, 1990; lithograph; 690×865 mm

Richard Dishinger; Sticky Fingers, 1991; lithograph; 742×943 mm

Richard Dishinger; Poacher, 1991; lithograph; 763×1015 mm

Roger Shimomura; Night – Minidoka, 2013; lithograph; 710×968 mm

Warren Rosser; Reflex & Memory II, 1992; lithograph; 950×470 mm

New Additions to the AP/RC: Lawrence Lithography Workshop While the AP/RC focuses almost exclusively on printmakers who directly control their work from conceptualization through printing, on occasion we add artworks to the collection which were printed at a professional fine art print shop such as…

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With the addition of the ten works reproduced here, the AP/RC now holds 79 artworks by Ricardo V. Ruiz, a native of Corpus Christi, Texas. Ruiz currently lives in Richmond, Virginia.

Ruiz’ artworks focus on curanderismo, Mexican faith healing. Accessing his past and present, and projecting into the future, Ruiz creates images that explore the space of mythical figures and interactions grounded in personal experience, ritual, and prose. His artworks seek to expand on the traumas and histories of marginalized groups within North America and simultaneously to provide spiritual reconciliation and mediation through discussion.

Taylor Ernst

Ricardo V. Ruiz; Cucuy, 2018-19; screen print with applied acrylic; 895×590 mm

Ricardo V. Ruiz; Dealer’s Choice, 2018-19; screen print with applied acrylic; 895×590 mm

Ricardo V. Ruiz; Bee Bee, 2018-19; screen print with applied acrylic; 895×590 mm

Ricardo V. Ruiz; Trick Look, 2018-19; screen print with applied acrylic; 895×588 mm

Ricardo V. Ruiz; Sticks, 2018-19; screen print with applied acrylic; 895×588 mm

Ricardo V. Ruiz; Negative Creep, 2018-19; screen print with applied acrylic; 895×590 mm

Ricardo V. Ruiz; Hell, 2018-19; screen print with applied acrylic; 895×588 mm

Ricardo V. Ruiz; Nickel Bet, 2018-19; screen print with applied acrylic; 895×590 mm

Ricardo V. Ruiz; Follow the River, 2018-19; screen print with applied acrylic; 893×590 mm

Ricardo V. Ruiz; Low Down, 2018-19; screen print with applied acrylic; 895×588 mm

New Additions to the AP/RC: Ricardo V. Ruiz With the addition of the ten works reproduced here, the AP/RC now holds 79 artworks by Ricardo V.

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Henry Klein has for decades been an integral conduit between United States audiences and central and eastern European printmakers. Through kleinprint, his Los Angeles-based business, he has had a particularly long interest in what he describes as “small format” graphic arts. Over many years, Klein commissioned ex libris  prints (also known as bookplates) from a wide range of artists in Europe. Potentially marking books from Klein’s personal library, the range of artists who created these images represents well the diversity and creative energy of the graphic arts in central and eastern Europe. All of the works are quite small, most ranging in size from about 8×6 to 2×3 inches.

While artworks from central and eastern Europe are not a central focus of the AP/RC, the opportunity to include in this print collection a body of comparative works from elsewhere in the world was of critical significance to us. Klein’s gift of over fifty of his commissioned ex libris prints from artists working in Russia, the Czech Republic, Slovakia, Poland, Belarus, Belgium, Bulgaria, Lithuania, Germany, Ukraine and other countries add rich and unexplored context to our core collections. The AP/RC is fortunate to have such a friend as Klein and we are grateful to him for his 2019 and 2020 donations.

Klein has long been active in American and European printmaking. He is a professor emeritus at Los Angeles Valley College where he directed the printmaking laboratory and served as head of the art department. In addition he has served on the boards of Southern Graphics Council International, the Grunwald Center for the Graphic Arts at UCLA’s Hammer Museum and the American Print Alliance.

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Martin Baeyens (born 1943, Belgian); Mikaela Siobahn Sanders, 2010; inkjet; 71×182 mm

Krzystof Marek Bak (Polish); Black Hole & Dinosaur Extinction – EXLIBRIS KLEINPRINT, 2019; inkjet; 139×104 mm

Krzystof Marek Bak (Polish); Environmental Pollution Lever – EXLIBRIS KLEINPRINT, 2019; inkjet; 76×48 mm

Nikolay Nikolaevich Batakov (born 1949, Russian); Nove Minotaurus, 2003; etching; 157×213 mm

Leo Bednarik (Slovak); Twin Towers of Babel, 2004; etching, dry point; 221×145 mm

Yurij Borovitsky (born 1955, Russian); From Point A to Point B – EXL KLEINPRINT, 2017; mezzotint, blind embossing; 95×79 mm

Yurij Borovitsky (born 1955, Russian); Centaurus – ExL KLEINPRINT, 2003; mezzotint; 144×140 mm

Jiri Brazzda (born 1952, Czech); Akt (nude) – Ex Libris kleinprint, 2013; engraving, drypoint, mezzotint; 146×96 mm

Jiri Brazda (born 1952, Czech); Backwards Town, 2001; engraving, drypoint, mezzotint; 212×147 mm

Jan Cernos (born 1982, Czech); Holofernes – Ex Libris kleinprint, 2008; etching, drypoint, mezzotint, hand coloring; 242×63 mm

Jan Cernos (born 1982, Czech); Dabel (RTG Devil – The Devil’s Child), EX LIBRIS KLEINPRINT, 2013; mezzotint; 50×158 mm

Konstantin Chmutin (born 1953, Russian); Seabed II – EXL KLEINPRINT, 2009; mezzotint; 139×89 mm

Oleg Denisenko (born 1961, Ukrainian); Twins Dialogue – EX LIBRIS KLEINPRINT, 2013; etching; 194×148 mm

Karol Felix (born 1961, Slovak); Third Tower, Ex Libris Henry F. Klein, IV; mezzotint; 127×84 mm

Vladimir Gazovic (born 1939, Czech); Nove Minotaurus, 2004; lithograph; 221×133 mm

Jan Hisek (born 1965, Czech); EXL KLEINPRINT, 2016; mezzotint; 118×78 mm

Sergij Jurijovych Hrapov (born 1956, Ukranian); Search of the Compromise – Ex Libris kleinprint, 2004; drypoint and aquatint; 152×110 mm

Gunter Hujber (Czech); Queen of Time – Ex Libris kleinprint (Henry Klein), 2018; etching, metal punch; 146×117 mm

Robert Jancovic (born 1958, Slovak); Podpera (Propping Up) – Ex Libris kleinprint, 2006; mezzotint; 85×100 mm

Robert Jancovic (born 1981, Slovak); Spoj (Connection), 1999; mezzotint; 216×178 mm

James Janicek (born 1935, Canadian by birth living in the Czech Republic); Dove Minotaurus – EX LIBRIS KLEINPRINT, 2003; etching; 99×81 mm

Anna Tikhonova Jordanova (born 1977, Belarusian residing in Bulgaria); Ship of fools – ex eroticus kleinprint, 2007; engraving, roulette on plastic with string; 90×145 mm

Onnik Karanfilian (born 1963, Bulgarian); Eclipse – EX LIBRIS HENRY KLEIN, 2016; aquatint, drypoint; 160×118 mm

Olga Keleinikova (born 1953, Russian); March Cats – ExLibris Lyn Charlsen Klein, 2010; etching; 138×106 mm

Jelena Kisseljowa (Russian); Robot Dance – EX LIBRIS KLEINPRINT, 2018; etching, hand coloring; 120×119 mm

Natalie Lamanova (Russian Asian); Air Mail – Ex Libris kleinprint, 2005; inkjet; 146×206 mm

Zhiufko Mutafchief (Bulgarian); Apotheosis or Irresponsibility – Ex Libris Henry Klein, 2019; lithograph; 132×90 mm

Yuriy Anatolyevich Nozdrin (born 1949, Russian); 2 of Spades – Exlibris H & L Klein, 2010; etching, aquatint, hand coloring; 89×57 mm

Yuriy Anatolyevich Nozdrin (born 1949, Lithuanian); Nove Minotaurus, 2003; etching; 261×209 mm

Sysa Oleksandra (born 1989, Ukrainian); Human Behavior – exl kleinprint, 2019; etching, aquatint; 117×86 mm

Hasip Pektas (Turkish); Ex Libris Henry Klein, 2004; inkjet; 96×67 mm

Safiya Piskun (Belarusian); Sally (Sandy) and the Ghosts of 9/11 – EXLIBRIS kleinprint, 2013; etching, drypoint, soft ground; 207×136 mm

Dusan Polakovic (born 1950, Slovak); Nove Minotaurus, 2009; etching; 186×177 mm

Yulia Protsyshyn (Ukrainian); Black Hole – EXL KLEINPRINT, 2019; etching, drypoint, mezzotint; 118×75 mm

Arkady Pugachevsky (born 1937, Ukrainian); Taurus – EX LIBRIS kleinprint, 2019; wood engraving; 117×69 mm

Roman Romanyshyn (born 1957, Ukrainian) Minotaurus, 2001; etching, aquatint, mezzotint; 235×165 mm

Roman Romanyshyn (born 1957, Ukrainian); Two Towers, 2003; etching, aquatint, mezzotint; 228×191 mm

Roman Romanyshyn (born 1957, Ukrainian); Inside Out, Upside Down, 2000; etching, aquatint; 198×178 mm

Roman Romanyshyn (born 1957, Ukrainian); T (Tattoo Twins), 2005; etching, aquatint, mezzotint; 188×167 mm

Roman Romanyshyn (born 1957, Ukrainian); K (Kiss & Kiwi), 2005; etching, aquatint, mezzotint; 180×174 mm

Ivan Rusachek (Belarusian); Twin Towers of Babel II – EXL H. KLEIN, 2013; etching, aquatint; 220×116 mm

Ivan Rusachek (Belarusian); Twin Towers of Babel I – EXL HENRY KLEIN, 2013; etching, aquatint; 130×129 mm

Norbert Salzwedel (born 1950, German); The Twin Towers – Ex Libris Henry Klein, 2012; engraving; 124 mm

Igor Shokoldov (Belarusian); Musical Bridge – exl kleinprint, 2018; etching, aquatint; 76×145 mm

Roman Sustov (born 1977, Belarusian); Learning to Fly, 2011; etching, linocut; 246×173 mm

Kamila Tamar (born 1945, Slovak); Inside out, upside down – Ex Libris Henry Klein, 2003; etching; 84×72 mm

Ella Tsyplyakova (Russian); Ex libris KAELA & LEA SANDERS, 2016; relief cut in plastic; 135×145 mm

Ella Tsyplyakova (Russian); Food for Long Legged Love – EX LIBRIS KLEINPRINT, 2016; relief cut in plastic; 146×128 mm

Ulyana Turchenko (born 1980, Ukranian); The Folk who live in Backward Town. Sheldon Silverstein – EXL Henry Klein, 2015; lithograph; 219×230 mm

Viola Tycz (born 1973, Polish); The Fallen Twins – Ex Libris Henry Klein, 2006; water polymer, intaglio; 191×110 mm

Frank-Ivo van Damme (born 1932, Belgian); Nove Minotauraus – EXLIBRIS KLEINPRINT, 2009; engraving; 101×73 mm

Katarina Varvova (born 1964, Slovak); Stories of Love I, In Memorium Lorrian Hunt-Lieberson, 2008; etching; 228×178 mm

Katarina Vavrova (born 1964, Slovak); Stories of Love II, In Memorium Lorrain Hunt-Lieberson, 2008; etching; 228×178 mm

Aliona Volchok (Belarusian); Peg-Legged Piggy – Exlibris Henry Klein, 2012; 73x104mm

Josef Werner (German); Going to St. Ives, 2011; etching, aquatint, hand colored, inkjet; 203×142 mm

Josef Werner (German); Going to St. Ives, 2011; etching, aquatint, hand colored, inkjet; 203×167 mm

Vladimir Zuev (born 1959, Russian); Two Towers of Babel – EL Henry Klein, 2007; etching, aquatint; 130×122 mm

Vladimir Zuev (born 1959, Russian); Fool for Love (Kiss and Tell) – Ex Libris Henry Klein, 2013; etching, aquatint, relief etching, hand coloring; 118×146 mm

New Additions to the AP/RC: Ex Libris Prints for Henry Klein Henry Klein has for decades been an integral conduit between United States audiences and central and eastern European printmakers.

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Saenz, born in Mexico, resides in San Antonio, Texas where he is head of the printmaking program at the University of Texas at San Antonio. The subjects of his images tend to focus on immigration issues, highlighted by tensions along the United States-Mexican border. Saenz illuminates issues–including immigration law, border conflict, identity, food culture, and children’s rights–that impact Mexican communities in the U.S. He notes, “My experience of being a first-generation son of Mexican immigrants, combined with the injustices suffered by those who cannot speak for themselves, has been at the forefront of my work for over fifteen years now.”

Saenz makes an interesting observation concerning the relationship between social and political dynamics and his figure style: The piñatafication of the figures represents the objectification of minorities and points to the loss of culture, identity, and the division of disenfranchised immigrant communities. 

Taylor Ernst

  Humbert Saenz; Jugando en Guerra – Pelea de Globos, 2018; lithograph; 280×350 mm

Humberto Saenz; La Carambola Esta Cañon, 2018; lithograph; 458×660 mm

Humberto Saenz; Jugando en Guerra – El Temblor, 2018; lithograph; 280×351 mm

Humberto Saenz; El Liebre Liberada, 2018; screen print and woodcut; 710×532 mm

New AP/RC Artist: Humberto Saenz Saenz, born in Mexico, resides in San Antonio, Texas where he is head of the printmaking program at the University of Texas at San Antonio.

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Vaughn Wascovich’s images of Cleveland bridges (Bridging Cleveland) and of rural eastern Texas (Hard Times) exploits the shifting essentials of pin hole photography–focus, resolution and texture–and then mediates them with 21st century digital printing techniques. The saturation of ink by the paper and the scumble-like surface create rich tactile qualities.

For his series, Wascovich used panoramic cameras that he built. Once his 8×20 inch negatives were exposed and he was back in his darkroom, he “distressed” the developing process. Using old developer, warm water, and more, he created accidents and textures. Recently the artist has been dividing his pictorial space into quadrants, creating the effect of window panes.

Wascovich, a native of Cleveland, has a kinship with the bridges from that city that he photographed: “It’s like I walk around, and there are ghosts of my past. Sometimes it’s a little disconcerting, but other times I really love that and I feel at ease. So that’s really important to me to have that place and that sense of belonging…”

In addition to the images of the Cleveland bridges and rural eastern Texas, Wascovich also donated to the AP/RC a selection from his Rodeo series.  The artist noted, “Having grown up in the Ohio/Pennsylvania region, rodeos were the stuff of old westerns…Seeing it in person one is immediately struck by the spectacle. Not only the blur of color and motions of the events, but the social world of the rodeo.”

Wascovich currently lives in Commerce, Texas, and teaches at Texas A&M, Commerce.

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Ghost House, from the series, Hard Times, 2011-18; pigment inkjet print; image: 330x814mm

Untitled, from the series, Hard Times, 2011-18; pigment inkjet print; image: 210x510mm

Cemetery, from the series, Hard Times, 2011-18; pigment inkjet print; image: 335x815mm

Untitled, from the series, Hard Times, 2011-18; pigment inkjet print; image: 220x510mm

Untitled, from the series, Hard Times, 2011-18; pigment inkjet print; image: 213x508mm

Trailer Park #3, from the series, Hard Times, 2011-18; pigment inkjet print; image: 335x814mm

Trailer Park #3, from the series, Hard Times, 2011-18; pigment inkjet print; image: 210x508mm

Untitled, from the series, Hard Times, 2011-18; pigment inkjet print; image: 208x510mm

Untitled, from the series, Hard Times, 2011-18; pigment inkjet print; image: 333x815mm

Little Giant, from the series, Hard Times, 2011-18; pigment inkjet print; image: 335x814mm

Untitled, from the series, Hard Times, 2011-18; pigment inkjet print; image: 205x505mm

On the Road to Ben Franklin, from the series, Hard Times, 2011-18; pigment inkjet print; image: 335x815mm

Grain Storage, from the series, Hard Times, 2011-18; pigment inkjet print; image: 333x815mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series Quadrants, 2018-19; pigment inkjet print; image: 410x510mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 353x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 341x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 343x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 353x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 332x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 345x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 358x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 365x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 341x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image:342x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 220x508mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 345x815mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 222x503mm

Untitled, from the series, Bridging Cleveland, 2013-18; pigment inkjet print; image: 350x815mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 338x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 308x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 338x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 338x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 338x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 308x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 338x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 338x508mm

Untitled, from the series, Rodeo, 2010-18; pigment inkjet print; image: 338x508mm

New AP/RC Artist: Vaughn Wascovich Vaughn Wascovich's images of Cleveland bridges (Bridging Cleveland) and of rural eastern Texas (

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Director and Founder of the AP/RC Receives Awards Peter S. Briggs, who founded the AP/RC in 2007, received a Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts for his ongoing research on the prints of Terry Allen.