Teaching Artist Learning Community (TALC) Update!

Left to right: TALC program facilitator Isabel Arevalo, participants Lynda Acosta, Boniat Ephrem, Meher Khan, Zamara Cuyún, Whitney Terrill, and program facilitator Nancy Ariza. Not pictured, Constanza Carballo

We are excited to share an update on Highpoint’s newest program, the Teaching Artist Learning Community!

TALC is a paid program designed for early-career Minnesota-based BIPOC artists interested in growing their teaching and studio practice in printmaking.

Six artists were selected this fall to join the inaugural program: Lynda Acosta, Constanza Carballo, Zamara Cuyún, Boniat Ephrem, Meher Khan, and Whitney Terrill.

Over ten weeks, the cohort met weekly with Nancy Ariza, Highpoint’s Artist Education Programs Manager, and Isabel Arevalo, Teen and Adult Programs Intern, for printmaking instruction and discussions on pedagogy and professional practice skills of being a teaching artist to develop their printmaking workshops.

They received instruction in drypoint intaglio, water-soluble monotype, and relief printing, as well as access to Highpoint’s Sampler Sessions and private instruction from programming staff. Discussion topics included writing a teaching philosophy statement; introduction to pedagogy and teaching artist professional practice; lesson plan writing and Backward Design, scaffolding, and differentiation; elevation; building a positive classroom culture; creating resources and aides; and reviewing and negotiating contracts.

Whitney Terrill in the Highpoint Co-op.

Meher Khan screenprinting in the education classroom.

The cohort visited Mia’s Print Study Room to expand their knowledge of contemporary printmakers and met guest artist and educator Melodee Strong, who shared professional advice and feedback on their teaching philosophy statements. 

This spring, the cohort members will lead printmaking workshops between February and May at Highpoint and offsite at partner organizations. They will also exhibit their work from April to June in the Threshold Gallery. The exhibition entitled Reflected Impressions, Endless Possibilities will feature new work by the cohort members inspired by their teaching philosophies and reflections on participating in TALC. 

This program is generously supported by the Minnesota State Arts Board 2024 Creative Support Grant.

Join us on June 5, 6-8 PM, for Ink and Insights: Conversations with Highpoint’s Teaching Artist Learning Community to meet the artists and celebrate their achievements.

Keep an eye on our upcoming classes to take a workshop with a cohort member: highpointprintmaking.org/classes

Viajes Interconectados: Explorando la Migración Animal con el Linograbado y Paste-up

Instructor: Lynda Acosta

Introduction to Color Drypoint Intaglio | Drawing Inspiration from African American Printmaking History

Instructor: Whitney Terrill

Reflect - Collect - Create | Experimental Monotype

Instructor: Boniat Ephrem

Marking Resilience: Indigenous North American Prints at MFA Boston

Check out this exhibition at the Museum of Fine Arts Boston! Marking Resilience: Indigenous North American Prints is on view from November 4, 2023 through March 17, 2024 and features Highpoint Editions work by Dyani White Hawk, Julie Buffalohead, and Andrea Carlson!

Resilience often manifests in work by Indigenous North American artists, for example in its content or simply by increasing visibility to combat erasure in representation. Some Native artists have used the collaborative medium of printmaking as a way of reclaiming their histories and addressing the challenges their communities face today.

Check out MFA Boston’s website for more information and additional programming.

Highpoint Editions at INK Miami 2023

Highpoint Editions visits INK Miami for the 2nd year!

Now celebrating its 16th year, the INK Miami Art Fair is unique among the satellite fairs during Miami Art Week as the premier fair for works on paper. Visiting INK is also free! From December 6th through December 10th, Highpoint Editions exhibited 13 artists at INK including Julie Mehretu, Njideka Akunyili Crosby, Wille Cole, Andrea Carlson, Delita Martin, Jim Hodges, Carlos Amorales, Todd Norsten, Carter, Lisa Nankivil, Brad Kahlhamer, Michael Kareken, and Carolyn Swiszcz.

Just two blocks from Art Basel Miami, INK showcases work from 15 galleries and publishers in the historic Dorchester Hotel. Instead of traditional fair booths, exhibitors occupy the hotel’s suites - giving visitors a rare opportunity to imagine the work in their homes.

The fair was bustling with attendees this year and the resounding response was incredibly positive. Many visitors expressed their gratitude for this breath of fresh air and insisted it was their favorite fair during Miami Art Week!

Interview with Highpoint Editions Artist, 2023 McKnight Fellow, and community member, Carolyn Swiszcz

We recently interviewed Carolyn Swiszcz, longtime Highpoint contributor, member, artist, and collaborator about their original introduction to Highpoint and what it has meant for their creative practice.

About: Carolyn Swiszcz has mastered the art of shining a rose-colored spotlight on the everyday with her playful style. As an avid creator, Swiszcz turns mundane suburban scenery into jewel-toned landmarks in her multimedia artistic practice, which ranges from music videos to zines to more traditional paintings.

Carolyn working in the Highpoint Editions Visiting Artist Studio in 2017.

I’m a painter and printmaker based in the Twin Cities. I have a printmaking BFA from the Minneapolis College of Art and Design, I’ve been a Highpoint Editions artist, and I'm currently a 2023 McKNight Printmaking Fellow at Highpoint. My husband Wilson Webb, a fellow MCAD alum, is an on-set photographer in the film industry. 

I met Cole Rogers while at MCAD and he invited me to make work with Highpoint Editions; I was part of the organization fairly early. Right from the beginning, Cole and Carla set the tone creating a quality, sustainable organization with high artistic and institutional goals. I am so happy to see Jehra Patrick in her new role as Executive Director and I trust that Cole’s successor will also continue the excellence that I have come to expect from Highpoint.

Andrea Carlson (left) and Carolyn Swiszcz (right) during the 2023 McKnight Printmaking Fellowship studio visit

I’ve done two rounds as a Highpoint Editions artist (2004 and 2017), and each time, my artwork has grown leaps and bounds. I’ve learned new processes and ways of working that I never would have come to on my own. The Highpoint “imprimatur” has been, for me, an essential confidence boost that has inspired me to pursue stretch-opportunities and exhibitions.

Carolyn and her husband Wilson printing a monoprint during her McKnight Printmaking Fellowship, fall 2023.

The Editions, co-op and education programs are all top-notch but I’d like to put a shout out for the exhibit space. The shows are something I’ve come to depend on for inspiration and they make Highpoint a destination for the arts community. There have been some recent exhibits that really stand out not just in the context of printmaking but in the Twin Cities art world as a whole. I’m thinking especially of 2021’s “A Contemporary Black Matriarchal Lineage in Printmaking.” There’s always new work that opens up my mind both technically and culturally. 

Wilson and I see and appreciate Highpoint's commitment to inclusion in the people it exhibits, publishes, grants, and educates.

Highpoint Editions, Highpoint's fine art publishing and visiting artist program invites artists to experiment with the medium of printmaking, create work in the visiting artist studio, and collaborate with the printing staff to create original editions. Since HP's inception, HPE has worked with dozens of artists and produced hundreds of prints and originals. Over the past year and a half, HPE completed projects with Julie Mehretu, Brad Kahlhamer, and Njideka Akunyili Crosby. 

Thank you, Carolyn! We are very appreciative of your involvement on so many levels! You can find more of Carolyn’s work here.

If you would like to support Highpoint or arts programming, consider donating or joining as a member.

Interview with Anda Tanaka, printmaker, instructor, and HP's Apprentice Printer

Anda Tanaka is a Minneapolis-based artist and educator working primarily in printmaking and drawing. She has exhibited work in solo, juried, and group shows around the country, most recently at Soo Visual Arts Center in Minneapolis and the Octagon Center for the Arts in her hometown of Ames, Iowa. Anda holds a BA in music and studio art from St. Olaf College and an MFA from Minneapolis College of Art and Design (MCAD). She is currently the Apprentice Printer at Highpoint Center for Printmaking and has taught courses at both MCAD and Highpoint. As a printmaker, she is always excited to learn new techniques and has recently taken continued education classes in monoprinting on clay, bookmaking, and waterless lithography. When not in the studio, you can find Anda outside cycling, cross-country skiing, open water swimming, or walking her cats, Triskit and Millie.

I joined the Highpoint co-op almost ten years ago. I was drawn to the studio because it provided a way to continue learning and experimenting with printmaking after becoming interested in the medium as an art major at St. Olaf. Joining the co-op gave me a solid community and network as I began to establish my studio practice in Minneapolis. After finishing my MFA at MCAD in 2022, I was able to join the Highpoint team as an Apprentice Printer, bringing along my long experience with the space as a community member.

I have been involved at Highpoint as a co-op member, adult educator, and printer. Throughout all these roles, I am passionate about problem-solving printmaking challenges with peers, students, and colleagues. Our staff and community members are generous with their time and expertise and are continually learning from one another.

Highpoint Editions staff printing "The Beautyful Ones" May Have Arrived, print by Njideka Akunyili Crosby

As Apprentice Printer, I work with our Senior Printer, Zac, and our Studio Interns in the Highpoint Editions “Pro Shop.” Highpoint Editions works with invited artists, local, national, and international, to create collaborative prints. In collaborative printmaking, the artist drives the aesthetic and conceptual side of a project while the printers provide technical skills and expertise. If you stop by the Pro Shop, you may find me mixing ink, preparing paper, packing prints, printing, or chatting with visitors about printmaking. My favorite part about my role is that I can share my enthusiasm and knowledge of printmaking with visitors and artists every day.

During the past few months, Senior Printer, Zac, and I have been interviewing printers at various shops across the U.S. and Canada to network with peers and learn about how different studios operate and collaborate with artists. It has been valuable to step back and look at the big picture alongside all the super-detailed printing work we do on a daily basis.

Having Highpoint in the Twin Cities has allowed and encouraged me to become deeply invested in the printmaking community as an artist, educator, and printer. Highpoint was my first studio after completing undergrad, the site of my first self-designed printmaking course, and where I have learned the ins and outs of the print publishing world.

I am currently teaching Intro to Intaglio at Highpoint and will be taking part in the winter HP co-op show, “Prints on Ice” as well as the Arrowhead Biennial in Duluth. And, now that the snow has started to fly, it is time to start training for the Birkebeiner cross country ski marathon, a winter tradition for me.

Thanks, Anda!!

You can find more of Anda Tanaka’s work.

Become a member or donate to support Highpoint here.

Meet the 2023-24 Full Color Print Fellows and Teaching Artists

Gabi Estrada (left) and Whitney Terrill (right)

Congratulations to the Full Color Print Fellows: Gabi Estrada and Whitney Terrill

We are sending a warm welcome and congratulations to Gabi Estrada and Whitney Terrill as the new Full Color Print Fellows 2023-24 at Highpoint Center for Printmaking. This yearlong fellowship will provide the artists with access to Highpoint’s cooperative print studio, learning opportunities through Highpoint classes and individual instruction, professional development and mentorship, a monetary award, exhibition opportunities, and more.

Gabi Estrada (they/them) is a Mexican-American printmaker, muralist, and arts educator based in Minneapolis, MN. Gabi's personal artistic practice is rooted in identity and storytelling, celebrating the memory and honoring the existence of their ancestors and elders. They believe in the power that art has to facilitate healing and community building, which they aim to prioritize in their artistic work and pedagogy. Beyond work, they enjoy cooking food for people they love, biking among the trees, and cuddling their cat, Tajín. 

While a fellow, Gabi will explore combining various print techniques and media. They said, "The majority of my work has been portraits centering femininity and matrilineality, but I am interested in reflecting on the men of my family as well, exploring their influence on my identity formation.”

Whitney Terrill (she/her) is a Minnesota artist focusing primarily on printmaking, photography, and painting. In her work, she addresses topics important to her, such as environmental justice and African heritage. Whitney also enjoys engaging in public art, especially murals, to raise awareness about environmental justice and to facilitate community meals and engagement for placemaking and placekeeping.  

Whitney received her undergraduate degree from Hampton University (VA) and an executive certificate in conservation and environmental sustainability from Columbia University (NY) and in social impact strategy from the University of Pennsylvania (PA).  

During the fellowship, Whitney hopes to complete work inspired by a recent residency she completed in June supported by the Minnesota African American Heritage Museum and Gallery and Belwin Nature Conservancy. She says, "The Full Color Fellowship gives me full permission and support to learn additional print techniques or strengthen my skills. It is the encouragement with practical mentorship and training that I need to create additional work to support my long-term goals as an artist.”

Highpoint would like to thank the panelists Teréz Iacovino and Tia-Simone Gardner, who carefully reviewed the applications, made their decisions, and generously compiled feedback for all the applicants. 

The Full Color Print Fellowship Program at Highpoint was developed with a steering committee to eliminate barriers to printmaking studio access for Minnesota artists from racial and ethnic communities that have been underrepresented within the cooperative printshop. 

Find more information: highpointprintmaking.org/full-color-fellowship

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Welcoming the Teaching Artist Learning Community

Highpoint’s Teaching Artist Learning Community is a paid program designed for early-career Minnesota-based BIPOC artists who are interested in growing their teaching practice in printmaking. The program aims to encourage teaching artists to develop an expansive and community-centered approach to printmaking instruction through a learning community model. Over a 9-week period this fall, artists will gain skills in the technical, pedagogical, and professional aspects of being a teaching artist and then will lead a workshop at Highpoint Center for Printmaking next spring. 

2023-24 artists include Constanza Carballo, Zamara Cuyún, Boniat Ephrem, Lynda Grafito, Meher Khan, and Whitney Terrill. 

This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts
Board, thanks to a legislative appropriation from the arts and cultural heritage fund.

Free Ink Day at Highpoint!

Free Ink Day

October 28, 12 - 4 pm at Highpoint

A free event for the whole family – costumes are welcome!

Join us for our Fall Free Ink Day! For this event, we are using a technique called Pochoir, which is printmaking with stencils. All materials for the planned activity are non-toxic and supplied by Highpoint. No registration is necessary – just drop in, bring your creativity, and be ready to get inky! Staff and volunteers will be able to answer any questions along the way.

It’s a spooky time of year and Halloween weekend, so costumes are welcome, candy is provided, and ghost, pumpkin, and monster stencils will be ready for printing!

Interested in volunteering? We would love your help!

On Njideka Akunyili Crosby's "The Beautyful Ones" May Have Arrived, by Jason Rosenfeld

Njideka Akunyili Crosby’s new print, “The Beautyful Ones” May Have Arrived, represents her first foray into an area of artistic production that she has been considering for some time. It is both a statement of continuity with the subject matter and style that has dominated her painted work for over a decade, and a novel departure in terms of process and materials.

“The Beautyful Ones” May Have Arrived by Njideka Akunyili Crosby 2023 | Edition of 60 | 45-run screenprint on Rives BFK | Paper Size: 36 1/2” x 46” | Image Size: 29 7/8” x 39 7/8”

The design is related to an acrylics-and-transfer-on-paper painting from 2013 titled “The Beautyful Ones Are Not Yet Born” Might Not Hold True For Much Longer, now in the collection of the Nasher Museum of Art at Duke University. At five and a half by seven feet, it was the precursor to a celebrated series of works, “The Beautyful Ones,” derived from the debut novel by Ayi Kwei Armah from 1968. Armah was born in Ghana in 1939, and his book centers on the challenges in the life of a working-class man in the weeks leading up to the coup against Kwame Nkrumah’s government in 1966. Akunyili Crosby’s continuing series, now encompassing eleven paintings, thus takes post-colonial Africa as its starting point, and presents frontal portraits of youthful relatives, friends, and herself in intricate interiors and complex clothing. This initial image from 2013 is different from the others in the body of work as the protagonist, the artist herself, is seen in profil perdu, and the viewer is left to imagine her state of mind. In both the present print and its painted inspiration, a woman sits on a rug next to a low table on which rests a variety of objects, including a kerosene lantern, bowls, and plates. There is a radiator to the left of her head, and a wall with a baseboard. She wears an Ankara dress and sports a distinctively threaded hairstyle.

Detail, “The Beautyful Ones” May Have Arrived

The painting was produced in Akunyili Crosby’s signature method, through precise drawing, the use of acrylic paints, and a photo transfer technique. The latter entails transferring images sourced from the internet or photographs she has collected over many years that serve as a kind of personal lexicon in her pictures. Pictures from this image bank are laser printed onto sheets of paper, and these color photocopies are placed face down onto the final surface and rubbed with acetone, transferring the image onto the paper below. The result is then often given a whitewash to further cloud the transferred image and push it back into the illusionistic space of the picture. This is a kind of monoprinting, and its ghostly reversed effects are visible in the radiator, baseboard, rug, side of the dress, edge of the table and its legs. In a gesture with metaphysical resonance, Akunyili Crosby painted a still life on the tabletop based on objects she photographed in 2012 at her grandmother’s house in a countryside village outside the town of Enugu where the artist grew up. Photographs of these same objects are then transfer printed onto the side and legs of the table.

In adapting such a complex work for an autonomous print, Akunyili Crosby and master printer Cole Rogers of Highpoint Center for Printmaking in Minneapolis needed to be both flexible in the process and rigorous in the determination of colors and textures. As a result, their collaboration has taken four years. Akunyili Crosby had been inspired by printmaking classes at the Pennsylvania Academy of Fine Arts and then at Yale University, where she studied under Rochelle Feinstein. She was also greatly influenced by prints made by artists such as Kerry James Marshall and Julie Mehretu. Rogers had first seen Akunyili Crosby’s work in person in a show of five pictures titled I Still Face You at Franklin Art Works in Minneapolis in 2013. The eventual collaboration has taken four years. Initially, Akunyili Crosby drew the intricate design onto a large lithographic limestone, sourced by Rogers from the stock of a deceased printmaker in New Mexico, who had probably procured it from the famed Solnhofen quarries in Germany. The plan was to employ a combination of oil-based lithography and water-based-ink screen printing, but in the end it was decided to scan the image printed from the stone, making forty-five screens from the scan, and employing an astounding forty-three specially mixed colors in the printing process. The result is printed on Rives BFK paper, the same support that Akunyili Crosby uses for her paintings. In the sections that approximate her trademark image-transfer work, a transparent grayish whitewash is applied to push the image into the perceived background. The radiator, for example, is printed using four different transparent colors to locate it in deeper space. Such intricacies of the process mitigate against the tendency for screen-printing to result in opaque and flat surfaces, and successfully convey the distinctive way Akunyili Crosby crafts her paintings, preserving their essence in this independent work.

Detail, “The Beautyful Ones” May Have Arrived

In “The Beautyful Ones” May Have Arrived, Akunyili Crosby amplifies elements of the source image while adding new details, such as the gold hoop earring and the four inverted glasses on the table. She made both feet visible including a big toe and heel, added a bit of the left arm, and turned the subject’s face to the right to make the slit of her eye and her high cheekbone visible. She also transformed the table from rectangular to circular to better harmonize with the round pooling of the dress on the rug, the table’s shadow, that earring, and the various round bowls and plates and lantern and glasses on the table. Most critically, she deleted the narrow threshold at the upper right and the continuation of the wall and baseboard, in favor of a suggestive void that begins mere inches from the sitter’s face.

The most complex element of the print is the sitter’s fabulous dress. This is in an Ankara style, employing traditional African patterns in a wax-based process on cotton that is itself, of course, a kind of printing. Based on a design from Boxing Kitten in Brooklyn, it is built of sections like puzzle pieces, a combination of many colors and various levels of transparency. The wavy patterns are echoed in the complex hairstyle derived from images of threaded hair by Nigerian photographer J.D. ‘Okhai Ojeikere (1930—2014), who began shooting these traditional looks in the 1960s. As with so much of Akunyili Crosby’s work, there is an architectonic quality to the dress and hair, signaling an awareness of the modernist design that marked the landscape of post-colonial Africa, especially the metropolitan Lagos of her youth. The artist’s works are often built on such design scaffolds; they combine with her beautiful drawing of faces and bodies and her challenging use of perspective to enliven the compositions and establish physical settings for the sitters’ mental musings.

Detail, “The Beautyful Ones” May Have Arrived

In works such as “The Beautyful Ones” May Have Arrived, Akunyili Crosby instills a sense of inner life into her figures who are presented in domestic environs that meld the Nigeria of her youth and the America of her maturity, and that literally bear their histories and culture—printed onto the metal of the radiator, the wood of the baseboard and table, the broad seams of a dress. These somewhat washed out visual sparklings press back into the depicted image but simultaneously and animatedly burst forward into the mind, in the forms of the hopes and dreams of the young sitter, who stares out into a light manilla-hued void, enveloped by the past but expectant and embracing of the future.

Jason Rosenfeld

Thank you to Njideka Akunyili Crosby, Cole Rogers, and Andre Keichian for their help in the writing of this essay.

Jason Rosenfeld, Ph.D., is Professor of Art History at Marymount Manhattan College, New York, and a Senior Writer and Editor-at-Large at The Brooklyn Rail. He is the co-author of a monograph on Cecily Brown (Phaidon, 2020). He was co-curator of the exhibition River Crossings at Cedar Grove, the Thomas Cole National Historical Site, in Catskill, New York, and Olana, in Hudson, New York (2015); co-curator of Pre-Raphaelites: Victorian Avant-Garde at Tate Britain, London, the National Gallery of Art, Washington, DC, the State Pushkin Museum of Fine Arts, Moscow, the Mori Arts Center Gallery, Tokyo, and the Palazzo Chiablese, Turin (2012-2014); and co-curator of John Everett Millais at Tate Britain, the Van Gogh Museum, Amsterdam, the Kitakyushu Municipal Museum of Art, Fukuoka, and the Bunkamura Museum, Tokyo, Japan (2007-2008). He is the author of the monograph on John Everett Millais (Phaidon, 2012).

View availability of the work here and for all inquiries, please email the Gallery Director, Alex Blaisdell, alex@highpointprintmaking.org

"The Beautyful Ones" May Have Arrived, new print by Njideka Akunyili Crosby

Highpoint Editions is proud to release a new screenprint by artist Njideka Akunyili Crosby, “The Beautyful Ones” May Have Arrived. This ambitious 45-run screenprint represents the artist’s first print publication and the culmination of a four-year-long collaboration with Highpoint Editions.

“The Beautyful Ones” May Have Arrived
Nideka Akunyili Crosby, 2023
45-run Screenprint on Rives BFK
Paper Size: 36 1/2” x 46 inches”
Image Size: 29 7/8” x 39 7/8”
Edition of 60

About Njideka Akunyili Crosby

Drawing on art historical, political, and personal references, Njideka Akunyili Crosby creates densely layered figurative compositions that, precise in style, nonetheless conjure the complexity of contemporary experience. Akunyili Crosby was born in Nigeria, where she lived until the age of sixteen. In 1999 she moved to the United States, where she has remained since that time. Her cultural identity combines strong attachments to the country of her birth and to her adopted home, a hybrid identity that is reflected in her work.

On initial impression her work appears to focus on interiors or apparently everyday scenes and social gatherings. Many of Akunyili Crosby’s images feature figures — images of family and friends — in scenarios derived from familiar domestic experiences: eating, drinking, watching TV. Rarely do they meet the viewer’s gaze but seem bound up in moments of intimacy or reflection that are left open to interpretation. Ambiguities of narrative and gesture are underscored by a second wave of imagery, only truly discernible close-up.

Vibrantly patterned photo-collage areas are created from images derived from Nigerian pop culture and politics, including pictures of pop stars, models, and celebrities, as well as lawyers in white wigs and military dictators. Some of these images are from the artist’s archive of personal snapshots, magazines, and advertisements, while others are sourced from the internet. These elements present a compelling visual metaphor for the layers of personal memory and cultural history that inform and heighten the experience of the present.

While the artist’s formative years in Nigeria are a constant source of inspiration, Akunyili Crosby’s grounding in Western art history adds further layers of reference. Religious art, the intimism of Edouard Vuillard’s intoxicatingly patterned interiors, the academic tradition of portraiture and, in particular, still life painting become vehicles for delivering, Trojan horse-like, new possible meanings.

These are images necessarily complicated in order to counter generalizations about African or diasporic experience. Talking about her work, Akunyili Crosby notes, ‘In much the same way that inhabitants of formerly colonized countries select and invent from cultural features transmitted to them by the dominant or metropolitan colonizers, I extrapolate from my training in Western painting to invent a new visual language that represents my experience — which at times feels paradoxically fractured and whole — as a cosmopolitan Nigerian.’

Njideka Akunyili Crosby was born in Enugu, Nigeria in 1983 and currently lives and works in Los Angeles. She was awarded a 2021 United States Artists Fellowship and 2017 MacArthur Fellowship. Akunyili Crosby is the recipient of the 2020 Carnegie Corporation “Great Immigrant, Great American” Award; the 2019 African Art Award; the 2017 Future Generation Art Prize Shortlist; the 2016 Prix Canson Prize; the 2015 Foreign Policy’s Leading 100 Global Thinkers of 2015 Prize; the 2015 Next Generation Prize, New Museum of Contemporary Art; the 2015 Joyce Alexander Wein Artist Prize, and the 2014 Smithsonian American Art Museum’s James Dicke Contemporary Art Prize. She was named one of the Financial Times’ Women of the Year in 2016.

Akunyili Crosby’s work is in the collections of major museums including Los Angeles County Museum of Art, The Metropolitan Museum of Art, The Museum of Modern Art, The Nasher Museum of Art at Duke University, The Norton Museum of Art, Pennsylvania Academy of the Fine Arts, San Francisco Museum of Modern Art, The Studio Museum in Harlem, Tate, Whitney Museum of American Art, Yale University Art Gallery, and Zeitz MOCAA.

Pricing and availability can be found here, or you may contact Gallery Director, Alex Blaisdell alex@highpointprintmaking.org

FOR FURTHER READING, CLICK HERE FOR JASON ROSENFELD’S ESSAY ON “THE BEAUTYFUL ONES” MAY HAVE ARRIVED.

Meet the Jerome Residents

Left to Right: Mei Lam So, Izzy Shinn, and Gidinatiy Hartman

ANNOUNCING HIGHPOINT’S 2023-24
JEROME EARLY CAREER PRINTMAKERS

Highpoint is pleased to announce the 2023-24 Jerome Early Career Printmaking Residents Mei Lam So, Gidinatiy Hartman, and Izzy Shinn. The nine-month residency begins in September and will culminate in May with a June 2024 exhibition in Highpoint’s galleries. Between now and then, though, much experimentation, progress, and growth will occur. The program will include four special guest critiques that occur at intervals during the residency. For more about each of the residents, read on:

Mei Lam So (she/her) is a Minneapolis-based visual artist whose medium includes printmaking, textile printing, and ceramics. She received her BFA from the University of Wisconsin-Madison and her MFA in Printmaking and Ceramics from the University of Iowa. Originally from Hong Kong, Mei’s work explores topics surrounding the acculturation process of bicultural Asian immigrants. Mei has exhibited her work nationally.

Mei offered this about the upcoming residency, “I look forward to enacting some developing ideas and creating a new body of work with the community support of Highpoint's technical and conceptual expertise.“

Izzy Shinn (they/he/she) is a butch Twin Cities-based printmaker and comic artist specializing in intaglio etching and ink illustration, having earned their BFA from the University of Minnesota. With a focus butchness, lesbian life, and history, their work is tied intimately with themself and their own experiences, showcased through characters and archetypes, exploring the sexual and social stigmatization of women, the body, and the queer subject.

Most recently, they have worked as a summer workshop studio assistant at Penland School of Craft. They have exhibited and sold work in various local venues, such as the Katherine E. Nash Gallery, Open Eye Gallery, and the North Suburban Center for the Arts. They have also self-published multiple mini-comics and zines and participated as an exhibitor in the 2022 Minneapolis-based Autoptic Festival.

When asked what they’re most looking forward to in the residency, Izzy said,  “What I'm most excited for is the time and resources to experiment more with intaglio printing methods, specifically multi-plate printing, chine collé, and plate shape variation. I'm also very much looking forward to delving into this newer, more personal facet of my work and exploring how drawing from intimate and archival sources will influence my style and practice.” 

Gidinatiy Hartman (they/them) has a Bachelor of Fine Arts in printmaking from the University of Alaska Fairbanks. Their artwork is about creating visual representations of the Deg Xinag and other Native languages and is centered around a desire to reclaim their family’s Athabascan language, which was taken from them due to colonization. United by a sense of whimsy and wordplay, their art seeks to make it easier for people to learn Deg Xinag and other Native languages. They aspire to have multiple modes of representation, including visual art, that makes language revitalization more accessible to people.

Gidinatiy said this about the upcoming residency, “I am looking forward to being in a printmaking studio because it gives me the opportunity to use a variety of printmaking methods again. I am excited to continue the same work I did for my BFA, creating artwork related to my Native language: Deg Xinag. Also, I look forward to being more involved in the printmaking community and being able to get feedback and input on my artwork.”

Highpoint would like to thank this year’s panelists Tamara Aupumaut and Heidi Goldberg. Tamara Aupaumut is a multidisciplinary artist and independent curator living on Mni Sota Makoce, also known as Minneapolis. She works in a variety of media, including printmaking. Heidi Goldberg earned her BA from Hamline University and MFA in printmaking and works on paper at The University of Michigan. She taught studio art at Concordia from 1995-2022. Her works have been exhibited in local, regional, national, and international juried exhibitions. She lives and works in the sand hills near the National Sheyenne Grasslands in North Dakota. 

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The Jerome Early Career Residency is in its 21st year of programming and is funded with a generous grant from the Jerome Foundation. The program is open to early-career Minnesota printmakers — defined here as artists who show significant potential yet have not received a commensurate amount of professional accomplishment or recognition, regardless of age or recognition in other fields. You can find details about the program, application process, and creative benefits on our website

About the Jerome Foundation –  Created by artist and philanthropist Jerome Hill (1905-1972), The Jerome Foundation seeks to contribute to a dynamic and evolving culture by supporting the creation, development, and production of new works by emerging artists. Based in St. Paul, MN, the Foundation makes grants to not-for-profit arts organizations and artists in Minnesota and New York City.

Association of Print Scholars at Highpoint

Highpoint hosted a cohort of print historians, curators, and educators from the Association of Print Scholars for a workshop Funded by the Getty Research Institute in the Highpoint studio at the end of July. Participants came to Minneapolis from all over the United States, along with two others who traveled internationally for the workshop, one from Montreal and another from Basel, Switzerland. Cole Rogers and Josh Bindewald provided a thorough, technically-focused, and participatory walkthrough of intaglio printmaking. Participants were able to create two images on copper plates using the techniques of drypoint, engraving, line etch, aquatint, and spit-bite. They were also guided through the process of making prints from their plates. Cole and Josh also demonstrated additional advanced intaglio techniques, including sugar lift, soft ground, chine-collé, and multiple plate printing. 

Amidst and between their studio sessions, the scholars viewed and discussed intaglio publications that Highpoint Editions has completed. They were also able to examine seminal historical prints during several visits to Mia. On their last day in the printshop, the scholars had the opportunity to apply their knowledge by identifying the techniques used in each other's prints and discussing what they had learned. The single greatest takeaway was their surprise at the level of skill needed to correctly wipe a plate, the scholars were emphatic about it!

The workshop was a long time in the works and took a great deal of planning. Originally it was to take place in the summer of 2020, but due to obvious circumstances, it was delayed. This was a case of good things worth waiting for, Josh said this about the workshop: “Teaching this group was so rewarding, their enthusiasm was palpable and contagious! All week long, they peppered us with intelligent questions and insights. It was just such a great experience all around.”

Thanks to the Association of Print Scholars for entrusting us to teach them intaglio and to engraving expert Todd Bridigum for helping introduce the ancient art of engraving to the group!

New Lithograph by Brad Kahlhamer

Highpoint Editions is proud to release the newest print by artist Brad Kahlhamer, ++HAWK+LITTLE HAWK++.

++HAWK+LITTLE HAWK++ by Brad Kahlhamer 2023 | Edition of 15 | Lithograph | Paper Size: 30 ½” x 25”; Image Size: 25” x 20”

Last summer, Highpoint Editions welcomed Brad Kahlhamer back to the professional shop to work on a series of watercolor monotypes and this lithograph edition of 15. Signed in May 2023, ++HAWK+LITTLE HAWK++ is now available for purchase.

This lithograph features a recurring character in Kahlhamer’s nearly 30-year career, the Hawk. The additional icons and themes in his work are born of a deliberate longtime practice – an almost life philosophy – of “yondering,” a term Kahlhamer coined to refer to his practice of nomadic wandering and pondering through his writing and drawing.

Brad Kahlhamer draws on his tripartite identity in his art, navigating his Native American heritage, adoptive German-American family, and adult life in New York City’s Lower East Side, where he has lived since 1990. In reference to his Native American history, Kahlhamer works with Hopi katsina dolls, but he deviates from their prescribed histories and uses, reimagining the dolls through a neo-expressionist lens and embellishing them with detritus collected from his neighborhood. Kahlhamer similarly combines established artistic traditions with his own history in his painting practice. The artist references hallmarks of 20th-century abstract painting, notably German expressionism and American neo-expressionism, while incorporating a highly personal iconography and absorbing the artistic milieu of downtown Manhattan.

Pricing and availability can be found here, or you may inquire with Highpoint’s Gallery Director Alex Blaisdell at alex@highpointprintmaking.org.

Njideka Akunyili Crosby Featured in New York Times

Highpoint Editions artist Njideka Akunyili Crosby was recently featured in a New York Times article titled “Njideka Akunyili Crosby Wants to Take it Slow, Despite Her Rapid Rise” following the opening of her solo exhibition at David Zwirner’s new Los Angeles location. Read the online article here.

Photograph of Njideka Akunyili Crosby by Erik Carter for The New York Times

Brad Kahlhamer at Nemeth Art Center

Highpoint Editions artist Brad Kahlhamer will be participating in the Nemeth Art Center’s first artist’s residency program and will be exhibiting work created during the program in a show on view at NAC in Park Rapids, MN from July 1 through October 1, 2023.

Opening & Artist Reception: July 1, 2023, 4:00 - 6:00PM

For more information and updates click here.

Morgan Solo Exhibition "Thought Notes" with Bockley Gallery

Highpoint Editions artist Morgan recently opened a solo exhibition with Bockley Gallery in Minneapolis.

“Welcoming his first engagement with Bockley Gallery, Morgan’s solo exhibition, Thought Notes, brings together a more recent selection of works (2006–2015) from his fifty-year career. As the title speaks to Morgan’s relation to and reverence for thought’s fragmentary, temporary, and hovering nature, it materializes his consistent studiousness with thought as a mark-making practice that embodies scripted and sonic notes on life.” - Bockley Gallery, Minneapolis

“Thought Notes” is on view from May 6 through June 17, 2023.

Learn more about the exhibition here.

Image ©Bockley Gallery.

Highpoint Editions at Expo Chicago 2023

Highpoint Editions visits EXPO Chicago for the Second Year

From April 13th through April 16th, Highpoint Editions exhibited at EXPO Chicago, a fine art fair taking place at Navy Pier’s Festival Hall in Chicago. This year’s 10th anniversary exposition featured over 170 exhibitors representing 36 countries and 90 cities from around the world. We exhibited recent works by Julie Mehretu, Delita Martin, Brad Kahlhamer, and Jim Hodges.

Over 32,000 visitors attended the fair this year and every interaction we encountered oozed with enthusiasm. People were back at the fair in full force and excited to view a wide range of work and engage in thoughtful discussions. While the huge selection of work may have felt overwhelming at first, every interaction was heart felt in intention and highlighted the tight-knit community of art lovers and enthusiasts that make this event a must attend.

Sarah Rose Sharp said it best in her article for Hyperallergic on this year’s fair: “One might go to an art fair anticipating spectacle, shenanigans, and eye-watering sales numbers, but the thing I found was much more heartening, and also deeply Midwestern: an environment of care, enabled by a deep work ethic and sincere enthusiasm for bringing art together with its audience.”

Co-Founder and Master Printer Cole Rogers celebrates 22+ years at Highpoint Center for Printmaking

Cole Rogers in the Highpoint Editions Print Shop by the ink wall

After an impressive twenty-two-year career at Highpoint Center for Printmaking, Co-founder, Artistic Director, and Master Printer Cole Rogers has announced he is stepping down from his position at Highpoint. We offer Cole our support for his next steps, celebrate his influential career at Highpoint, and recognize his legacy in the greater printmaking field.

When we asked Cole if he is retiring, he said, “What’s that? I plan to collaborate with artists making prints and being an active community member.” As creatives, there is not quite a word to describe what it means to “retire,” but it’ll be a continuation of the craft. One thing's for certain, Cole Rogers's legacy in the printmaking community and the number of artists that have been impacted by his presence and expertise is incalculable.

See the Star Tribune Article here.  

As Cole departs, we celebrate his career and legacy. Since its opening in 2001, Cole has worked with over 50  international artists creating hundreds of prints and multiples from internationally known artists like MacArthur Fellows Julie Mehretu and Njideka Akunyili Crosby, to Do Ho Suh, Jim Hodges, to self-taught artist Donovan Durham. Highpoint Editions’ Print publications have been acquired for the permanent collections of over 70 major museums, corporations, and numerous private collections throughout the United States and abroad. Cole has been honored with ‘Printmaker of the Year awards from the Baltimore Museum of Art and the Mid-America Print Council and is a lifetime member of Southern Graphics Council International and Mid-America Print Council.

Highpoint was founded on the idea of bringing artists together to make prints, learn, explore, and find community through the medium of printmaking. In founding Highpoint, Cole and Carla have built a lasting hub for printmaking that includes members, artists, enthusiasts, collectors, students, neighbors, and families.

We are excited for Cole and Carla as they embark on their next chapter together and we know that they will continue to be honored members of Highpoint’s community for years to come. 

Cole Rogers printing ɹǝɯɯnS  ɟo  by Jim Hodges 2016

I am so grateful to have shared this adventure with many wonderful HP Board members, staff, interns, and co-op members, and tens of thousands of community members and stakeholders.  It has been an honor and privilege of a lifetime.
– Cole Rogers

Cole Rogers working with artist Dyani White Hawk on test proofs for her 2019 Takes Care of Them suite.

Having the opportunity to work with Cole was a gift. He is an incredible printmaker and human being. Having the opportunity to collaborate with someone with that level of expertise opens doors of possibility. My practice has benefited tremendously through the opportunity of creating prints through Highpoint Editions. I am but one of many people whose practices and lives have been enriched through participation in Cole and Carla’s vision of creating increased accessibility to printmaking. I am so proud of and grateful for, the work we created together as well as the lasting friendships that came through the experience of the beauty of collaboration.
– Artist Dyani White Hawk

Cole Rogers with artist Julie Mehretu who is signing her 2003 print Entropia (review).

Cole is one of the most talented and generous printmakers I’ve had the pleasure of working with. He embodies the full spirit of democratization of printmaking in the creation of Highpoint with the artists and students he has worked with over the years. He’s given an enormous gift to the community of Minneapolis.
– Artist Julie Mehretu

Cole Rogers artist Willie Cole while signing his 2012 Sole Sisters print.

Cole Rogers is a wonderful blend of patience, professionalism, and optimism. He cares and believes in the creative potential of both artists and ideas and that belief leads to amazing collaborations. Artists fall in love with potential. Cole Rogers, as the founder and Director of Highpoint, nurtures this potential through optimism, patience, and professionalism to help artists create amazing prints.
– Artist Willie Cole

Highpoint staff, Highpoint Editions artists and exhibition curator Dennis John at the opening night of The Contemporary print, 20 Years at Highpoint Editions.

We plan to honor Cole with a special event this summer and look forward to sharing details with you in the near future. 

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FULL PRESS RELEASE:

By: Carol Schuler

Highpoint Center for Printmaking’s Co-Founder Cole Rogers retires and celebrates
22+ years as Master Printer and Artistic Director

Highpoint Center for Printmaking Continues Successful Legacy

MINNEAPOLIS, MN (Apr. 18, 2023) – Co-founder, Artistic Director, and Master Printer Cole Rogers has announced his retirement from Highpoint Center for Printmaking. Established in 2001, Highpoint nurtures the art of printmaking by providing educational programs, community access, and collaborative publishing opportunities. 

Founded by Cole Rogers and Carla McGrath, Highpoint Center for Printmaking is recognized as the only community-based printmaking center of its caliber in the Upper Midwest. Executive Director Jehra Patrick will continue that vision for Highpoint to further the art of printmaking in exceptional ways.

“I am proud of the work Highpoint has done over the past two decades, born out of a first discussion and dream in August of 1997,” said Rogers. “I am so grateful to have shared this adventure with hundreds of accomplished artists, many wonderful Highpoint Board members, staff, interns, and co-op members, and tens of thousands of community members and stakeholders. It has been an honor and privilege of a lifetime. My time at Highpoint is ending, but I will continue printmaking and teaching as the future unfolds.” 

During his 20+ year tenure as Artistic Director and Master Printer of Highpoint, Rogers collaborated with scores of artists to cultivate their vision through printmaking. He guided Highpoint’s curatorial committee, led and facilitated artistic programming, managed printshop staff, and scouted and nurtured new talent for the Highpoint Editions visiting artist program. Rogers has collaborated with over 50 professional artists to create hundreds of prints and multiples: from internationally known artists like MacArthur Fellows Julie Mehretu and Njideka Akunyili Crosby, to Do Ho Suh, Jim Hodges, to self-taught artist Donovan Durham. 

 “Cole is a dedicated organizational leader, mentor, educator, and friend to many," said Highpoint Executive Director Jehra Patrick. “His deep love and commitment to printmaking has impacted our local community and is evident nationally. Together, Cole and Carla cultivated a thriving community of artists, learners, collectors, and enthusiasts brought together by printmaking — we are honored to steward this legacy of artistic and educational excellence into the future.”

“Artists fall in love with potential,” said artist Willie Cole. “Cole Rogers, as the founder and Director of Highpoint, nurtures this potential through optimism, patience, and professionalism to help artists create amazing prints.”

“I am so proud of and grateful for the work we created together as well as the lasting friendships that came through the experience of the beauty of collaboration,” said artist Dyani White Hawk. “I am but one of many people whose practices and lives have been enriched through participation in Cole and Carla’s vision of creating increased accessibility to printmaking.”

“Cole is one of the most talented and generous printmakers I’ve had the pleasure of working with,” said artist Julie Mehretu. “He embodies the full spirit of democratization of printmaking in the creation of Highpoint with the artists and students he has worked with over the years. He’s given an enormous gift to the community of Minneapolis.”

“In founding Highpoint, Cole Rogers and Carla McGrath created what is now one of the Twin Cities’ most vibrant and vital nonprofit art spaces,” said Siri Engberg, Senior Curator and Director of Visual Arts at the Walker Art Center, and a founding board member. “The professional print workshop is a haven for artists working in the medium – a place of perfect synergy where one’s vision can be realized through Cole’s technical collaboration and innovation at the highest level. I have yet to meet an artist he has worked with who has not been positively changed by the experience of working there.”

Highpoint is forming an executive search committee to identify the best possible successor. 

About Highpoint Center for Printmaking: 

Highpoint is a nonprofit organization dedicated to advancing the art of printmaking. Its goals are to provide educational programs, community access, and collaborative publishing opportunities to engage the community and increase the appreciation and understanding of the printmaking arts. Highpoint Center for Printmaking offers a variety of programming including educational classes for kids, adults, and community members, a print shop co-op space that provides access to local artists to create work in a supportive workshop environment, a visiting artist program with national and international artists who can produce work with a master printer, creative residency, fellowship, and scholarship programs to support early career and professional artists, and a gallery space that is fully accessible to the public. Highpointprintmaking.org 

A Note from Cole Rogers

Stepping away from Highpoint is not an easy decision, but it is the correct one at this time.  Pretty much anyone who knows me is aware of my deep love and commitment to printmaking, Highpoint Center for Printmaking, and Highpoint’s mission.  I am proud of Highpoint's work over the past two decades, born out of a first discussion and dream in August of 1997.  That discussion developed into a business plan which was researched and crafted over three years, eventually resulting in Highpoint opening its doors to the public in early 2001.  From the very inception of Highpoint, it was intended for the organization to be passed on to new stewards to carry Highpoint's mission into the future.  I am incredibly proud of what Highpoint has become over the 25+ years since that early crazy idea Carla McGrath and I shared while cleaning up after a printmaking class in the Walker Art Center's Art Lab.   

Highpoint was a pretty risky idea at first, and luckily, we were able to build a small group of believers who became Highpoint’s first Board of Directors.  Early on, we did a lot of informational lunches and coffees with community members and visited other studios around the country as we built the business plan.  We both had a lot of experience and knowledge under our belts and we believed there was a strong need for a place like Highpoint, but it was unclear whether the community would embrace what we envisioned.  It was a huge leap of faith leaving jobs we both loved for this new and unformed undertaking.  We leased HP’s first space and got to work. We were visited by Mary Abbe, then the Minneapolis Star Tribune’s Arts reporter. After telling Mary our plans, she gave us a side eye and a droll ‘uh huh’ which sounded a lot like ‘we’ll see’ but she generously wrote a nice article about our new venture.  Fast forward to 20+ years later and both Carla McGrath and I feel incredibly fortunate to have seen this idea bloom into what Highpoint has become and to have had the support of so, so many amazing people along the way.

I have loved the opportunities to work closely with hundreds of accomplished artists: from internationally known artists like MacArthur Fellow Julie Mehretu and Njideka Akunyili Crosby, Do Ho Suh, and Jim Hodges, to the self-taught artist Donovan Durham.  And I am so grateful to have shared this adventure with many wonderful HP Board members, staff, interns, co-op members, and tens of thousands of community members and stakeholders.  It has been an honor and privilege of a lifetime.

Hundreds of studio interns have passed through Highpoint over the years, many going on to graduate printmaking programs, several to Tamarind Institute’s Professional Printer Program, and a few have started their own studios.  Others are working professionally as printers at some of the most well-respected print publishers across the US including the Lower East Side Print Shop, Gemini GEL, Pace Editions, and Universal Limited Art Editions.  Several Highpoint co-op members and interns have even relocated across the country to work at Highpoint, which is obviously a huge compliment.  I’m still surprised and always deeply touched when I meet someone from another part of the country who knows about Highpoint.

The exhibition The Contemporary Print: 20 Years at Highpoint Editions curated by Dennis Michael Jon at the Minneapolis Institute of Art was a highlight of my career.  Seeing eight of Mia’s Target Galleries filled with so many wonderful works by Highpoint Edition’s artists felt like a big family reunion.  Being able to share all that work was amazing, over 8,000 people viewed the exhibition including 700 on the final day, and this was during the COVID pandemic.  Highpoint Edition’s Archive was created to share and preserve this body of work with the public, and Mia’s acquisition of the archive was a big and important milestone.

— Cole Rogers, Co-Founder, Master Printer, Artistic Director

HIGHPOINT CENTER FOR PRINTMAKING ANNOUNCES THE 2023 MCKNIGHT PRINTMAKING FELLOWS:

NATASHA PESTICH AND CAROLYN SWISZCZ

Natasha (left) Carolyn (right)

Highpoint is delighted to announce the 2023 McKnight Printmaking Fellows Natasha Pestich and Carolyn Swiszcz. During the second week of January, the four finalists for the 2023 McKnight printmaking Fellowship hosted esteemed panelists Alexis Lowry (curator at Dia Art Foundation, New York) and Andrea Carlson (visual artist) for studio visits. Alexis and Andrea’s review of the applications began back in November and concluded with the selection of the 2023 Fellows, Carolyn Swiszcz and Natasha Pestich.

About the 2023 McKnight Printmaking Fellows:
Natasha Pestich is a Minneapolis-based artist and educator. Working primarily in site-specific installation and works on paper, her work seeks to draw out the complex ways values and systems are questioned, internalized and expressed both in our daily lives and at pivotal moments of conflict, loss and renewal. Pestich has showcased her prints in alternative spaces and museums in the United States, Canada, Rome, and Scotland and is the recipient of numerous grants. 

Carolyn Swiszcz is a painter-printmaker known for her images of lonely suburban buildings. Born and raised in New Bedford, Massachusetts, she moved to Minnesota to attend the Minneapolis College of Art and Design where she earned a BFA in 1994. Her work has been exhibited at Highpoint, The Drawing Center, the Minneapolis Institute of Arts, and Miyako Yoshinaga Gallery in New York. She lives in West St. Paul with her husband, photographer Wilson Webb, and their daughter. 

The fellowship officially began February 1st and will run through January 2024. Each McKnight fellow is awarded $25,000 in unrestricted funds, access to the cooperative printshop and classes at Highpoint, professional development opportunities provided by Springboard for the Arts, studio visits with invited arts luminaries as well as many other benefits. Carolyn and Natasha’s fellowship year will conclude with an exhibition in Highpoint’s galleries in January 2024.

Highpoint would like to thank Andrea Carlson and Alexis Lowry for providing their expert insight in reviewing the applications for the 2023 fellowship. We would also like to thank the McKnight Foundation for their continued support of this program and Minnesota artists.

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About the panelists:
Andrea Carlson is a visual artist who maintains a studio practice in northern Minnesota and Chicago, Illinois. In 2003 Carlson received a BA in Art and American Indian Studies, and an MFA from the Minneapolis College of Art and Design in 2005. Her work has been displayed in public spaces, while her paintings and drawings often create alternative landscapes and narratives within colonial institutions. Carlson was a recipient of the 2008 McKnight Fellow, a 2017 Joan Mitchell Foundation Painters and Sculptors grant recipient, a 2021 Chicago Artadia Award, and a 2022 United States Artists Fellowship.

Alexis Lowry is curator at Dia Art Foundation, New York, where she is responsible for the permanent collection, as well as exhibitions, commissions, and public programs across Dia’s sites and locations. At Dia Chelsea, she has overseen new projects by Lucy Raven, Rita McBride and Kishio Suga. At Dia Beacon, she organized the first North American retrospective of Charlotte Posenenske’s work, as well as installations by Larry Bell, Mel Bochner, John Chamberlain, Mary Corse, Melvin Edwards, Charles Gaines, Barry Le Va, Lee Ufan, Robert Morris, Michelle Stuart, and Anne Truitt. Prior to joining Dia, she was curator of the David Winton Bell Gallery at Brown University, Providence, and a freelance project manager for Creative Time, New York. She has recently contributed to publications for Art in America, Art Monthly, the Cornell Fine Arts Museum at Rollins College, Orlando; Drawing Center, New York; and Whitney Museum of American Art, New York; in addition to books produced by Dia. In 2021, Lowry was the first invited curator-in-residence at the Bauhaus Foundation in Dessau, Germany. She is on the board of directors of the Triple Aught Foundation and serves on the advisory council of The Great Northern. She obtained her PhD from New York University’s Institute of Fine Arts in 2019.