Printmaking Commons^™

Unforeseen Entrapment, Mariah Dechant

Lines from the Middle of Nowhere

Unforeseen Entrapment Print, Screenprint on Vinyl and Paper by Mariah Dechant, Printmaking

Formidable Patience, Mariah Dechant

Lines from the Middle of Nowhere

Formidable Patience, Lithography on Paper by Mariah Dechant, Printmaking

Brute Force Branding: Variations & Repetitions Of The Almighty Dollar Banknote, Rui-Long Monico

Artl@s Bulletin

Abstract: This paper examines the U.S. dollar as a global brand and mythic icon, revealing how its stable aesthetic asserts dominance and infiltrates daily life. Through visual analysis and global comparison, it shows how banknotes are battlegrounds where art, identity, and geopolitics collide—currency as a weapon of soft power and cultural hegemony. The dollar’s visual inertia—ritualized, repeated, reappropriated—cements its supremacy as a symbolic force, where repetition enforces authority and variation sparks both resistance and conformity. Banknotes emerge as tools of statecraft and vessels of collective memory, as reflected in the author’s bespoke creation accompanying this study.

Résumé: Cet article analyse …

Investigating The Relationship Between Noun Classes And Plant Folk Taxonomy In Chasu Language Of Kilimanjaro Region In Tanzania, Peter Rabson Mziray

Journal of Humanities and Social Sciences

The current study investigates the relationship between noun classes and plant folk taxonomy in Chasu (G 22). The study focuses on two objectives: the first objective is to describe the plant folk taxonomy in Chasu and the second objective is to determine the relationship between noun classes and plant folk taxonomy in Chasu. Data were collected from rural villages in Same and Mwanga districts by using free listing, field interviews (jungle-walk-and-identify), and written texts containing Chasu plant names. The findings reveal that Chasu folk taxonomy reflects different ethnobotanical categories; including a unique beginner which is mmea/mimea ‘plant(s)’, and three life …

Cover Art - Suspicous Baby, Georgia Leakey

The Messenger

Design by Helen Mei

Self Portrait, Georgia Leakey

The Messenger

No abstract provided.

A New Perspective

DePaul Magazine

The DePaul Art Museum foregrounds inclusiveness, partnership and social justice to reframe the role of cultural institutions.

Baby Boy, Elysa Adams

PANDION: The Osprey Journal of Research and Ideas

Artist Statement

Baby Boy is a tribute to friends lost in 2022 and 2023. he crown of flowers within the artwork serves as a metaphor, for the symbolic crucifixion of Black men. The piece reveals the harsh reality that numerous Black boys face challenges that prevent them from reaching adulthood. It emphasizes the lack of protection, highlighting a world that targets and jeopardizes their well-being. he narrative is represented through a woodcut of a young Black man.

My creative journey is inspired by the untold stories and vibrant spirits that permeate my community. I am motivated by a profound drive …

Food For Thought, Alivia Palalay

The Messenger

No abstract provided.

I’Ll Just Dip My Toes In, Eva Steinitz

The Messenger

No abstract provided.

A Light On Europe. The International And Intermedial Trajectory Of A Medieval Chandelier At The Turn Of The Nineteenth Century, Eveline Deneer

Artl@s Bulletin

This article investigates the shaping of European visual culture by tracing the international and intermedial trajectory of the visual motive of a chandelier from a 15th-century Burgundian manuscript in the decades around 1800. Passing from Brussels, Paris, Lyon, Mannheim, and Vienna to Coburg, and moving from illumination to drawing, archaeological illustration, painting, engraving to the applied arts, its trajectory exemplifies the historical conditions and cultural phenomena that animated the formation of a European visual culture, at a time when historical and national consciousness were developing on the continent.

Beyond The Veil, Noah S. Constantino

PANDION: The Osprey Journal of Research and Ideas

The philosophy behind my work is accented by this process in the sense of its micro-complexity. The idea of reshaping a flat surface to mimic complex topography coincides with the question I’ve been asking myself throughout making this work: What is outside of our structured and contrived reality and what does that look like? The complexity of depth within the process and the constant re-evaluation of the surface of the print is a parallel attempt to answer this fundamental question. To answer this, the fear of the unknown will always be present, but we must not let its complexity distract …

The True "New Eve": Ben Wildflower's Magnificat And The Second Creation Story, Mary L. Parks

Obsculta

Images of the Virgin Mary have provided comfort to Christians for almost two thousand years. Many of these images have depicted the Mother of God as gentle, demure, pure, and obedient. Ben Wildflower’s woodcut, Magnificat, imagines another side of Mary’s story. This paper considers the second creation story, “New Eve” typology, and church teaching about current social and environmental issues to demonstrate why Magnificat is an ideal portrait for the true “New Eve”.

Postcard From The Cascade, Jeff Tsai

The Messenger

No abstract provided.

Dancing Shapes, Violet Jetton

The Messenger

No abstract provided.

Dissociation, Chaimae Oualid

be Still

"Dissociation," is a reflection of the world's struggle against the COVID-19 pandemic, and how it has affected us all in ways we never could have imagined.

Through this painting, I wanted to capture the gradual, yet drastic change in emotions, lifestyles, and perception of reality that we experienced during this time. The crowd of people depicted in the painting represents the collective struggle we faced, all facing towards the unknown and moving towards it. The different facial expressions convey the range of emotions we felt during this time, from fear and worry to resilience and hope.

For me, the pandemic …

Creating; Kind, Jordan Boutelle

PANDION: The Osprey Journal of Research and Ideas

Artist Statement

As a printmaker, I use the versatility of the medium to create diverse representations of the environment and society each of us are placed in. These contexts are the “tool kit” we are provided to forage together our own identities and relationships. The piece Creating; Kind represents the individual in a moment of time. A set of rigid assets are used to create unique combinations of layered textures, objects, and color that are then cut down to create the element needed for the composition. The contrast between the finite nature of the matrices and substrates used and the …

I Bloomed In The Dark, Izzy (Kiara) Narvais

PANDION: The Osprey Journal of Research and Ideas

We come from different places and different backgrounds. Our lives are a constant trial and error. Our past lives on and makes us bloom into the people that we are today. I want to share my story to create a safe place to talk about our trajectories. In a place of darkness and sadness that I sat in for so long, a bright light and a flower grew through it all within me. I have been bullied, abused, and sexually assaulted. I take that as not a place of weakness but a place of strength. I stand strong to be …

The Anxiety Of Presenting Identity, Savannah Fleming

PANDION: The Osprey Journal of Research and Ideas

This work explores aspects of Queer identity, historical reflection, and acceptance through painting, printmaking, and collage. Savannah Fleming's artwork intends to reclaim art history and alter it to include those excluded from its canon. Through the use of prints, paint, and collage, they create works that address the bias of art history, while tackling contemporary problems of identity and acceptance. References and alterations to art history are her way of addressing the erasure of Queer and BIPOC (Black, Indigenous, and people of color) from the art historical canon, while battling with modern-day confines on individuality.

Cosmic Desert Art, Mike Graham De La Rosa

Chamisa: A Journal of Literary, Performance, and Visual Arts of New Mexico and the Greater Southwest

The Cosmic Desert are the designs inspired by chile hallucinations, desert creatures, and the long weird neon nights in the Borderworld. Made with love on the banks of the Rio Grande.

My family is originally from Northern Mexico but I grew up in Northern New Mexico down river of both where Al Hurricane and Nuclear Annihilation were originally created. Amongst chollas, rattle snakes, and river willow, the imagining of New Mexico permeates the landscapes. The Cosmic Desert is inhabited lowriders, taco trucks, neon adobe bars, cholas, native peoples, immigrants, punk rockers and cowboys. Just beyond the darkness, our imagination takes …

Foraged, Gabby Kiser

The Messenger

No abstract provided.

Flores, Georgi Warren

The Messenger

No abstract provided.

Artist Spotlight, Ben Schoenburg

Hemisphere: Visual Cultures of the Americas

No abstract provided.

(Review) Indelible Ink: Native Women, Printmaking, Collaboration, Presented At The University Of New Mexico Art Museum, David Saiz, Paloma Barraza

Hemisphere: Visual Cultures of the Americas

No abstract provided.

Introduction To Volume Xiii, Laura Golobish, Andrea Quijada, Amy C. Hulshoff, Eleanor Kane, Breanna Reiss, Jeannette Martinez

Hemisphere: Visual Cultures of the Americas

No abstract provided.

Table Of Contents

Hemisphere: Visual Cultures of the Americas

No abstract provided.

Severing Union: The Queer Performance Of Steven Paul Judd’S “Stop The Dapl”, Matthew Irwin

Hemisphere: Visual Cultures of the Americas

No abstract provided.

Disciplinary Frontier(S) Between The “Americas”, Helen B. K. Marodin

Hemisphere: Visual Cultures of the Americas

No abstract provided.

Life's Adventures, Emily Zurbuchen

Graduate Medical Education Research Journal

No abstract provided.

The Artist Behind The Cover Art: An Interview With Tiffany Day, Tiffany Day

Steeplechase: An ORCA Student Journal

No abstract provided.