Contemporary Print Series

Established in 2016, the Contemporary Print Series (formerly the Community Supported Art Program) features a new commissioned print every year by an outstanding local artist and encourages collecting original works at affordable prices. All works are $100-225 and can be purchased framed or unframed. A selection from the series is also available as a free gift for our 500 Friends of Art Members and above.

Please contact the office at contact@thecontemporarydayton.org with inquiries.

More About The Contemporary Print Series

In 2016 The Contemporary Dayton launched a new initiative, originally called Community Supported Art, and now known as The Contemporary Print Series, inviting art lovers to be personally involved in nourishing the creation of art by some of our region’s most collectible artists.

Designed with starter collectors in mind, the works are presented as a way for audiences to connect to and own high quality contemporary art at affordable prices by accomplished artists they may otherwise not have an opportunity to collect.

In addition, this program can be seen as a way for more experienced collectors to gain access to the most exciting artists making work right now–and even as a way to gather a selection of contemporary works to gift.

For each share, shareholders receive a select number of signed, original, limited edition* works of art by a number of different talented and collectible artists. Artist information, representative images, and images of works in progress are posted on The Contemporary Dayton’s website.

The Contemporary Print Series is designed to strengthen the art community by supporting the careers of emerging artists and cultivating collectors and is made possible from a seed grant from U.S. Bank Foundation.

 

2020 Print Series

Heather Jones

Where We Drift, 2020

woodcut, 15 x 12 in.

About the Artist/About the Work
heatherjonesstudio.com
heatherjonesstudio@gmail.com

About the Artist

Heather Jones is an artist whose work questions and pushes traditional conceptions of both quilt making and painting by exploring the formal possibilities of color and design. She addresses the historical and socio-political relationship between women and textiles, and explores the relationship between gender, place, time, and culture in her work.

Jones is represented by Contemporary Art Matters, Columbus, Ohio; the George Gallery, Charleston, South Carolina; Imlay Gallery, Montclair, New Jersey; Moremen Gallery, Louisville, Kentucky, and Slate Contemporary, Oakland, CA. She was selected as an artist-in-residence for Kehinde Wiley’s inaugural class at Black Rock Senegal.

Her work has been exhibited widely at national and international venues including the Taft Museum of Art, Cincinnati, OH (solo); Art on Paper, New York, NY; Aqua Art Miami, Miami, FL; Marta Hewett Gallery, Cincinnati, OH; Iowa Quilt Museum, Winterset, IA; New England Quilt Museum, Lowell, MA; the University of California, Berkley, CA; Boecker Contemporary, Heidelberg, Germany; drj- dr. julius | ap, Berlin, Germany; Five Walls, Melbourne, Australia; and M17 Contemporary Art Center, Kiev, Ukraine. Jones’ first book, Quilt Local: Finding Inspiration in the Everyday was released in October 2015 by STC Craft, an imprint of Abrams, New York.

A native Cincinnatian, Jones studied art history at the University of Cincinnati’s College of Design, Art, Architecture, and Planning, earning both a Bachelor of Arts and Master of Arts (ABT). She currently lives outside of the city on a small farm with her husband and two children.

Statement

My work explores the formal possibilities of color and shape, often through geometric compositions. I am drawn to fabric, to its familiarity, its inherent qualities of saturated color and textural luminosity, and its invitation to be touched. Fabric reflects, captures, and interacts with light in a way that no paint can. My works are created by cutting fabric with scissors, creating a composition through assemblage and collage, joining the fabric components together with a sewing machine, and pressing the fabric with an iron. Once the composition is complete, I stretch the fabric around a wooden panel and staple it into place, allowing the final gestures to be made as a result of the fabric and its seams under tension. By manipulating fabric and pulling it taut, seam lines shift and stretch, revealing their final placement only once the work is finished. 

I am also interested in the historical and socio-political relationship between women and textiles and women’s work. I explore the relationship between gender, place, time, and culture in my work, as a way of connecting with my Euro-Appalachian ancestors who settled into southern Ohio and eastern Kentucky, many of whom made goods with their hands as their livelihood and connection to their ancestral homes. Conceptually, my work carries on the tradition of woman as maker, it pushes the boundary between fine art and craft, and it questions the definition of painting.

 

About the Work

This print was inspired by a textile that I created while in Dakar, Senegal, the westernmost point of Africa, in October of 2019. I was working as an artist in residence at Black Rock Senegal, a new program started by contemporary American painter Kehinde Wiley, where I was focusing on the textiles of Senegal and how I could incorporate them into my own work. 

During my stay, I was able to take a workshop on mudcloth, a traditional Mali textile in which fermented mud is used to decorate and dye a handwoven cloth. In the workshop, the participants were given some plain fabric and we were able to decorate it however we liked. I drew a geometric design, with a series of triangles in a grid, loosely inspired by historic American patchwork and quilting. 

Since my time in Dakar, I have been experimenting with adding more triangular shapes in my work, particularly my sewn fabric constructions. It’s a shape that historically represents strength, as it’s the strongest geometric shape, and I love the way that they make the eye move around a composition. 

When I was thinking about creating this print, it was no surprise that I turned to that shape as a starting point. The composition is inspired by the mud cloth that I painted in Dakar, and antique American patchwork, with a grid and elongated triangular shapes. There are a total of 22 triangles in the print, 11 dark and 11 light. I chose woodcut as my printing method, as the hand carved lines that are inherent to the medium were visually very appealing to me, and I love that their marks remain so pronounced in each print. As much of my work is minimalist in approach, I used black oil based ink on white paper, to accentuate the strong graphic design of the shapes.

Recent reviews of my work:

Most Metro

Citybeat

2018 Prints

Daniel Cleary

Faith is a Bird that Sings (in honor of Marie Aull), 2018
digital print
edition of 25
About the Artist/About the Work

About the Artist

Dan, a professional photographer, established Cleary Creative Photography in 1988. Since 2006 he has been exhibiting work in local fine art exhibitions, and was selected as one of DVAC’s Artists to Watch for 2017. His current work explores the historical, geographical, and emotional connections of Dayton’s past and present.

For DVAC’s 2018 CSA he will be focusing his lens on Five Rivers MetroParks Aullwood Garden. He plans to research Marie and John Aull’s legacy through the archives at Wright State University Library to find historic photographs with which to interweave images from present day. The two images will be united digitally and printed on photographic paper using a high-quality inkjet printer. This type of print, invented in the late 1980s, is known as a Giclée (zhee-KLAY). The final work will be size, matted to a final size of 11 x 15 inches.

About the Work

“My photographs are built of layers of images that interweave the past with the present. In this limited edition series I will be focusing on Aullwood Garden. The garden was the personal home of Marie and John Aull. It was Marie’s interests in conservation and her love for the environment that led her to donate 70 acres of land to establish the Aullwood Audubon Sociey in 1957. In 1997 Marie donated her home and 30 acre garden to the park district to create Aullwood Garden where she lived until her death in 2002 at the age of 105.”

View more of Dan’s work here.

Andrew Dailey

Harvest Votive, 2018
Etching
edition of 25

About the Artist/About the Work

About the Artist

Andy received his MFA from Miami University, Oxford and BFA from Wright State Universty. He has won numerous awards for his work in exhibitions throughout the region. He has a myriad of teaching experience and serves currently as the Cultural Arts Program Supervisor for the City of Kettering.

For DVAC’s 2018 CSA, he will create a limited edition etching approximately 8 x 12 in. in size. Etching is a method of making prints from a metal plate, usually copper, into which the design has been incised by acid. The copperplate is first coated with an acid-resistant substance, called the etching ground, through which the design is drawn with a sharp tool. The ground is usually a compound of beeswax, bitumen, and resin. The plate is then exposed to nitric acid or dutch mordant, which eats away those areas of the plate unprotected by the ground, forming a pattern of recessed lines. These lines hold the ink, and, when the plate is applied to moist paper, the design transfers to the paper, making a finished print.

For DVAC’s 2018 CSA, his imagery will be in keeping with the motifs and aesthetic of the Death Votive work and will be of a pair images of organic forms alongside human-made objects.

About the Work

“I pair images of organic forms, plant life and/or animals alongside human-made objects. It is through the relationships of this small visual collection that I explore the ideas of transformation, change and renewal. I hope to offer up a final image that provokes personal reflection on these, or similar, ideas within the viewer. The imagery chosen for my piece, ‘Harvest Votive,’ parallels the concept behind the DVAC CSA program; a sustained interchange between two entities. Much like an artist and a supporting patron, the rabbit is sustained by its habitat and the role it plays within the ecosystem.  In addition to its metaphoric significance, the visual format comes straight from an ongoing body of work.

“Harvest Votive’ is a copper plate etching. I chose this medium for its lush tonality. I utilized a hard ground process that allowed me to develop the image while preserving an active, nuanced and descriptive mark.“

View more of Andrew’s work here.

Juan-Si Gonzalez

 
About the Artist/About the Work

About the Artist

Juan-Si’ (WAN-see) creates work that reflects his emotional and geographical displacement.

Born in Santiago, Cuba, he studied at the National School of the Arts and in the Higher Institute for the Arts in Havana. In 1987 he co-funded “Group Art-De” (standing for art and rights) and began doing interactive performaces on the streets of Havanna and underground videos to comment on social issues in Cuba at the time. He left Cuba as a political refugee in 1993 and moved to Costa Rica and then to Miami, New York City, and finally, Yellow Springs, and now Dayton. He has exhibited throughout the country, won numerous awards in film and fine arts, and is represented in major collections throughout the country.

An interdisciplinary artist who chooses his media depending on the idea or commentary he is presenting, his most recent series uses digital photography. In Alterations, he recycles advertising images that bombard and invade our personal environments. By deconstructing these images, he empties them of their original meaning, extracting and fragmenting them from their original context until all they resemble is what he calls their “digital trail.” In their estrangement, they take on new significance, and seem to become a new kind of representation.

For DVAC’s 2018 CSA, he will print a new, limited edition Alterations series image on 11 x 17 inch metallic paper.

About the Work

“The photographs in this series register gaps in transmission in the unrelenting traffic of media images. They came from television advertisements during those intervals in which the signal is interrupted and the emitted image breaks up, fragmenting until nearly disintegrating. What remains is a wake of drifting fragments and vestiges of images that retain some trace of that which has already precipitously disappeared. In these photographs, I try to capture and document the digital trail left behind by an image in movement, its ephemeral trajectory from the recognizable to the abstract. From the visual detritus emerge new signifiers that evoke other subjectivities, other discourses, and other more static and contemplative temporalities. On being severed and extracted from their referents, the images are deactivated and emptied of their content and original purpose. In their estrangement, they engender new forms, a new visual syntax created with the intention of disrupting the intended order of representation and mechanisms of persuasion.”

View more of Juan-Si’s work here.

Peggy Steinberg

Floral Harmony, 2018
digital print
edition of 25

About the Artist/About the Work

About the Artist

Highlighting perfectly arranged flowers with digitally painted backdrops is harder than it look–and Peggy is a master. She starts within her digital camera where she captures such bold and romantic flowers like lilies, irises, and proteas (also known as sugarbushes). Next, with a digital tablet and pen (her “palette” and “paintbrush”), she adds her vision of each flower’s meaning and significance through a variety of techniques to create color, depth and texture.

Peggy received her BA and MFA in Photography at the University of Toldeo and is a Member of the Professional Photographers of America, the American Society of Photographers,  and the Professional Photographers of Southwest Ohio, among others.

For DVAC’s 2018 CSA she will create a new floral photographic portrait that will represent the glory of the garden season at summer’s peak, the harvest time.  The 8 x 12 inch image will be printed with archival ink on 100% fine art cotton paper.

About the Work

“I photographed a parrot tulip with a macro lens on my digital camera.  This allowed me to be very close to the flower and capture the detail without distortion.  As I processed the image in my computer the curves and colors of the flower led me as I experimented with different angles and repeating designs. Several additional photographs of textures were blended in, creating a softening overlay and the background.  The image is printed with archival ink on 100% cotton fine art paper and finished with a hand torn deckle edge.”

View more of Peggy’s work here. 

2016 & 2017 Prints

The images you see below are photographs and prints CSA shareholders received in the 2016 and 2017 CSA offerings that are still available for purchase. Each artwork is between 8×10 and 11×14 in. in size, signed and editioned by the artist.

Doug Fiely

3 Eves, 2016, relief, 14 x 11 in.

About the Artist/About the Work

Doug Fiely was raised in Celina, OH. The imagery that surrounded him on the shores of Grand Lake captivated his attention, and once he was given a guitar he became both a visual and performing artist.

He received his MA in printmaking from Bowling Green and for over 40 years he raised chickens, goats, turkeys, and children while teaching at Stryker Local Schools and spent many weekends and evenings playing rock ‘n roll throughout Ohio, Indiana, and Michigan. Upon retirement, he was asked to teach Printmaking, Painting and even the “History of Rock ‘n Roll at Defiance College. He moved to Dayton just a few years ago and became fast friends with DVAC and the artists in the community. His skills at taking simple subject matter, a woman rolling dough, black crows on a line, and then breaking up the picture plane like a Picasso or Braque underscore his playful subject matter and rich palette.

View more of Doug’s work here.

Paula Willmot Kraus

Redwing Blackbird from the series Under an Ohio Sky, 2012, archival inkjet print with encaustic, 10 x 16 in.

About the Artist/About the Work

Paula Willmot Kraus teaches photography at Wright State University and Stivers School for the Arts. She holds an MA in Photography from Antioch University and a BS from Pennsylvania State University.Her work has been exhibited throughout the region and her largest project is a 96-foot-long by 4-foot-tall black and white photograph that will be permanently displayed in the renovated Dayton Metro Library in 2017.

Bird Study was inspired by a winter walk through a landscape transformed by a heavy blanket of snow where the “snowy silence was interrupted by a flock of birds feeding on the frozen berries of a tree.” The silhouetted forms captured against a white background invoke the delicacy of oriental calligraphy.

“I approached these images much as a painter might,” notes Kraus, “but with the subtraction of brush strokes rather than the addition of ones … Printing on rice paper and coating it with encaustic completed the reference to Eastern imagery.”

View more of Paula’s work here.

Amy Powell

Playing Eleanor, 2017, archival inkjet print, edition of 50

About the Artist/About the Work
Amy Powell is an award-winning photographer based in Dayton whose works have been featured in Time Magazine. Her documentary work employs the mechanics of the camera to create intimacy, and even distance, with her family. Of her work, she says organizing the frame and composing a subjective personal narrative has empowered her when she has felt powerless.

Amy received a BFA from Columbus College of Art & Design and an MFA/MA from Ohio State.

View more of Amy’s work here.
Read more about Amy’s work here.

Danielle Rante

Department of Exploratory Works: New Systems, 2017, lithography and silkscreen on handmade paper, edition of 50

About the Artist/About the Work
Danielle works in drawing, painting, printing, paper cutting, installations and tableaus of small organic objects. Sourcing material directly from the environments she visits, she incorporates site-specific field research into geographical happenings, direct interaction with the landscape and its inhabitants, and meditative mark-making. Akin to a botanist collecting live plant specimens in the wild, or an astronomist mapping locations beyond the earth’s atmosphere, she presents us with images of the meeting place between the physical environment we encounter and the narratives of a place.

Danielle lives and works in Columbus, Ohio. She is currently an Assistant Professor of Printmaking and Drawing at Wright State University. She received her MFA in printmaking from the University of Iowa in 2006. Her work is held in public and private collections worldwide.

View more of Danielle’s work here.

 

Francis Schanberger

Zenith #1, 2017, gelatin silver print, edition of 50

About the Artist/About the Work
One of nine children, Francis has been photographing since fourth grade when he presented a homemade, long focal length pinhole camera as his science project. An early part of his photographic career was spent working as a laboratory assistant at the University of California, San Diego, School of Medicine where, after hours, he would make cyanotype photograms in the laboratory using equipment and supplies that were close at hand. Since receiving his MFA from the Ohio State University in 2002, his work has been characterized by an interest in historical photographic processes and staged self-portraiture. He was awarded an Individual Artist Fellowship from the Ohio Arts Council in 2002, 2009 and in 2013 as well as a Montgomery County Arts and Cultural District Fellowship in 2008. In 2011, he was commissioned by the Ohio Arts Council to create seven awards using the Van Dyke Brown process for the annual Governor’s Awards for the Arts. He has exhibited at Soho Photo in New York, the Houston Center for Photography, the Free University of Brussels, as well as the Museet for Fotokunst in Odensee, Denmark.

View more of Francis’ work here.

 

Andrea Starkey

Forest No. 16, 2017, woodblock print, edition of 50

About the Artist/About the Work
Andrea Starkey is a Dayton-based printmaker who is known for her detailed prints of trees using the ancient of moku hanga. She finds inspiration for her artwork from both nature and the natural materials used in its creation. In addition, she is an award winning portrait artist and has won numerous awards since beginning to show her work in 2009, including The Pastel Journal’s annual Pastel 100 competition.

When she isn’t creating artwork, Andrea works professionally as an architectural renderer and graphic designer.

View more of Andrea’s work here.

Joel Whitaker

Invisible Cities 0049, archival pigment print, courtesy of the artist

About the Artist/About the Work

Joel Whitaker is a Professor at University of Dayton. He holds a BFA from the University of Montevallo, Alabama and an MFA from Florida State University, Tallahassee. In 2008 he was one of eight Ohio photographers selected to participate in a NEH funded re-photographic survey of FSA photographs of Ohio. His work has been highlighted in the Elements of Photography and Photography Now/One Hundred Portfolios – An International Survey of Contemporary Photography. His work is in several public collections, has been exhibited extensively in the US, and received several state, regional, and university grants.

Of his Invisible Cities Series: I am particularly interested in the ephemeral nature of structure, location, and process; physically, psychologically, photographically, and virtually. For Invisible Cities, I used Google Earth downloads to attempt to reinvent the idea, representation, and physical form of cities and the photographs that define and describe them. The resulting photographs are as much informed by my experiences in such places as by my relationship to the physical and intellectual underpinnings of the photographic medium that serve as a record of these experiences and interactions. I consider the city and the photographic medium transitional; organic things that are constantly in flux, both physically and intellectually.

View more of Joel’s work here.

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