For the last decade, digital printmaking has been the most debated topic in the printmaking community. The validity of digital printmaking has been questioned thoroughly on both sides of the discourse. But, just like anything else that is new, suspicion is generally quelled by time. By now, the assimilation of digital prints has made the debate moot. It is not uncommon for printmakers to use digital output to some degree as a tool for making prints. Most printmaking programs have integrated digital components for at least ten years. However, it is the digital that challenges the pedagogy encompassing the traditional, by the generation of students for whom the computer is as ubiquitous as television was for baby- boomers.

The craft of printmaking requires the type of investment that may be foreign to the digital generation. Yet the more one is exposed to the breadth and depth of printmaking history and processes, the more one is able to recognize the distinctive visual qualities of hand-pulled prints.

The artists chosen for this exhibition create prints as a mainstream activity. They utilize traditional print processes and shared aesthetic of abstraction that references nature. Artists represented in Still Pulling include: Sarah Amos, Sean Caulfield, Charles Cohan, Gail Deery, Denes Galfi, Anna Hepler, Eunice Kim, Amanda Knowles, Karen Kunc, Kimiko Miyoshi, Tomomi Ono, Chris Papa, Ellen Price, Roselyn Richards, Barbara Robertson, Elizabeth Sadoff, Roxanne Sexauer, Tanja Softic, Seiko Tachibana, and Akiko Taniguchi.

This comprehensive exhibition showcases works by artists well known within the printmaking community, but not widely known to the general public. The unique opportunity to view these works "up close and personal" affirms traditional printmaking as a thriving contemporary art practice producing rich and compelling works.

Please join us for the free Public Lectures by Roxanne Sexauer and Tanja Softic on the dates listed above, and for the exhibition's opening reception on Friday, March 21.