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Relief print from rubber stamps using oil based inks collaged with wheat starch onto a monotyped background using oil based inks.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

The Wages of Sin, 2016

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Copyright %C2%A9 Michael Kareken%2C published by Highpoint Editions

Tree Near Second Beach II, 2018

Michael Kareken; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Unique monoprint asphaltum hand-applied by the artist using squeegee on paper. Multiple monoprints were made using shared Z shape.

Copyright %C2%A9 Jay Heikes%2C published by Highpoint Editions

Z (22), 2015

Jay Heikes; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint and lithograph printed with multiple screen runs to produce a trompe l'oeil effect of the words "Endless, Ceaseless, Boundless Joy" appearing to be written in masking tape overlapping each other on a scuffed and dirty sheet of paper with irregular edges and three trompe l'oeil pieces of yellowed Scotch brand tape on the top edge. The top and bottom edges were cut using an irregularly shaped template designed by the artist. Run 1: Lithographic drawing of scuffs and dust in medium gray ink Runs 2-6: Masking tape screen stencil #1 in opaque white Runs 7-11: Masking tape screen stencil #2 in opaque white Runs 12-16: Masking tape screen stencil #3 in opaque white Run 17: Masking tape screen stencil #1 in transparent tan Run 18: Masking tape screen #2 in transparent tan Run 19: Masking tape screen #3 in transparent tan Run 20: Scotch tape screen stencil #1 in transparent greenish yellow Run 21: Scotch tape screen stencil #2 in very transparent greenish yellow Runs 22-28: Scotch tape screen stencil #2 in gloss overprint varnish The top and bottom edges were cut using an irregularly shaped template designed by the artist.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Wayland, 2013

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint printed in 16 layers: 12 layers of white ink, 2 layers of tan ink, 2 layers of gloss overprint varnish. Edges of print hand-cut and distressed by the artist from a template, including pinholes in upper right and upper left of print.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Endless, Ceaseless, Boundless Joy, 2009

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A hard-ground etching of a floating figure with well-articulated legs and abstracted upper body printed in black ink.

Copyright %C2%A9 Chloe Piene Studio%2C published by Highpoint Editions

Anvil, 2010

Chloe Piene; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of an orange iron shape on a light orange background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Creativity (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light orange iron shape on an orange background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Creativity (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Triptych printed in light gray and black from two photolitho plates made from the artist's drawing on Denril drawing medium using toner powder and water. The left panel has the positive birds plate printed in black and the background plate printed in gray; the center panel has the positive birds plate printed in black and the background plate is also printed in black; the right panel has the positive birds plate printed in gray and the background plate is printed in black.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Bird Sticker, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a fuchsia iron shape on a light fuchsia background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Renunciation (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Stasiaphrodite, 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light fuchsia iron shape on a fuchsia background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Renunciation (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Anti Anti Anti (Farbbombe & Brighton Bookshelf), 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

8 Ways to trash the Tonsberg shop, 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Antonellataque, 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Two lithographic drawings from "Architectonic vs. HR" panel numbers 1 and 6 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Two lithographic drawings from "Architectonic vs. HR" panel number 8 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 12 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 11 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 2 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 2 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 3 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a green iron shape printed on a lighter green background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Healing (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a red iron shape on a light red background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Desire (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light green iron shape on a green background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Healing (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light red iron shape on a red background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Desire (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
An edition of nine black-and-white relief prints plus proofs printed from a plywood block carved by the artist with a router.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Sole Sisters, 2013 (published 2018)

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 10 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Unique monoprint screenprinted by the artist using asphaltum on paper with hand-applied asphaltum on three sheets of paper cut and hinged by the artist. Multiple monoprints were made using shared screens for printing and joined in various combinations, all entitled "Niet Voor Kinderen."

Copyright %C2%A9 Jay Heikes%2C published by Highpoint Editions

Niet voor Kinderen (7), 2015

Jay Heikes; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Woodcut trace monotyped in oil-based black ink on three sheets of paper from two basswood blocks carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The impressions were each joined and backed with three additional sheets of paper using wheat starch and trimmed to size.

Copyright %C2%A9 Aaron Spangler%2C published by Highpoint Editions

Constellation, 2014

Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and inked with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size.

Copyright %C2%A9 Aaron Spangler%2C published by Highpoint Editions

Reclining Arms, 2014

Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Woodcut trace monotyped in oil-based black ink on three sheets of paper from a basswood block carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The impressions were each joined and backed with three additional sheets of paper using wheat starch and trimmed to size.

Copyright %C2%A9 Aaron Spangler%2C published by Highpoint Editions

Waiting in Line, 2014

Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Two lithographic drawings from Architectonic vs. HR panel numbers 1 and 4 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
The portfolio includes 12 prints on paper, a woodcut printed in black on muslin, a title page, a portfolio box with a spider web pattern screenprinted in transparent base on the cover, and an inkjet printed dust jacket.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Title page for Architectonic vs. H.R., 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
The portfolio includes 12 prints on paper, a woodcut printed in black on muslin, a portfolio box with a spider web pattern screenprinted in transparent base on the cover, and an inkjet printed dust jacket.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Portfolio case and dust jacket for Architectonic vs. H.R., 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A diptych printed from six laser-engraved Plexiglas plates in the shape of four bird heads, a woman's legs, and an ape in red and blue inks. The plates were printed in an overlapping arrangement designed by the artist. One panel of the diptych was printed with the plates inked and wiped intaglio style. The second panel was printed after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flat.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions Duo, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A diptych comprised of a Ukiyo-e style woodcut image printed with watercolor inks and companion text printed in turquoise blue lithographic ink.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Archive Brasil 1551 & ashes of F.L.W. house, 2008

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 10 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Willy Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Saphire, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Zeddie, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Sarah, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Ruth, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Eagle head shapes printed 116 times in 11 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #3, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Eagle head shapes printed 109 times in 12 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #1, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Eagle head shapes printed 86 times in 9 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #2, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One of four maps of the world relief printed from laser-engraved Plexiglas mounted on masonite in solid black with the countries dislocated from their normal placements, often overlapping.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Useless Wonder Map #1, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed from seven plates in brown, violet, pink, and black depicting a laying deer, two birds in costumes, and a groundhog on its back holding antlers and two shadow puppets. Printing order: pink, brown, black, and violet.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Unravel, 2014

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed from six plates in brown, red, and black depicting a laying deer, a bird on its back in a costume, and a groundhog holding two shadow puppets. Printing order: brown, black, and red.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Entwined, 2014

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Eagle head shapes printed 157 times in 14 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #5, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Eagle head shapes printed 122 times in 8 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #4, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One of four maps of the world relief printed from laser-engraved Plexiglas mounted on masonite in solid black with the countries dislocated from their normal placements, often overlapping.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Useless Wonder Map #3, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One of four maps of the world relief printed from laser-engraved Plexiglas mounted on masonite in solid black with the countries dislocated from their normal placements, often overlapping.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Useless Wonder Map #4, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One of four maps of the world relief printed from laser-engraved Plexiglas mounted on masonite in solid black with the countries dislocated from their normal placements, often overlapping.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Useless Wonder Map #2, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Woodcut trace monotyped in oil-based black ink on three sheets of paper from a basswood block carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were joined and backed with three additional sheets of paper using wheat starch and trimmed to size.

Copyright %C2%A9 Aaron Spangler%2C published by Highpoint Editions

Separatist, 2014

Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Fabricator: Paul Mullowney Printing, San Francisco; Publisher: Highpoint Editions, Minneapolis

Not on View
The artist tossed US currency half dollars, quarters, and dimes of random numbers and years creating patterns to be blind embossed into aluminum foil. A total of 28 compositions were produced. Holes corresponding to the composition were laser-cut into a 20 x 24 x 1/8 inch acrylic sheet and 3 mil aluminum foil was adhered to the sheet using Drytac Facemount film adhesive. Coins with corresponding dates and orientation were fitted into the sheet and embossed into the foil using an etching press. The coins were removed, the cavities painted with shellac, and filled with Durham's Rock Hard Water Putty. The foil was wrapped around the acrylic sheet's edge and secured with Scotch Double Sided Tape. The embossed foil-wrapped acrylic sheet was then adhered to 3/8 inch medium density fiber board using DAP Weldwood Contact Cement. A label bearing the publisher's name, the artist's signature, date and inventory number was then affixed to the back. The artist chose to leave the metal surface unfinished allowing it to age and patina just as the coins they are based on expecting and welcoming the changes. The rate and amount of changes will vary depending on their environment.

Copyright %C2%A9 Mungo Thomson%2C published by Highpoint Editions

Pocket Universe (Silver) #21, 2016

Mungo Thomson; Publisher: Highpoint Editions, Minneapolis

Not on View
The artist tossed US currency pennies of random numbers and years creating patterns to be blind embossed into copper foil. A total of 28 compositions were produced. Holes corresponding to the composition were laser-cut into a 20 x 24 x 1/8 inch acrylic sheet and 3 mil copper foil was adhered to the sheet using Drytac Facemount film adhesive. Coins with corresponding dates and orientation were fitted into the sheet and embossed into the foil using an etching press. The coins were removed, the cavities filled with Durham's Rock Hard Water Putty, and the foil was wrapped around the acrylic sheet's edge and secured with Scotch Double Sided Tape. The embossed foil-wrapped acrylic sheet was then adhered to 3/8 inch medium density fiber board using DAP Weldwood Contact Cement. A label bearing the publisher's name, the artist's signature, date and inventory number was then affixed to the back. The artist chose to leave the metal surface unfinished allowing it to age and patina just as the coins they are based on expecting and welcoming the changes. The rate and amount of change will vary depending on their environment.

Copyright %C2%A9 Mungo Thomson%2C published by Highpoint Editions

Pocket Universe (Copper) #23, 2016

Mungo Thomson; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint with applied bronze, silver, and pearl foils in 25 colors from stencils produced using drawings made by the artist referencing Lakota dentalium yoked dresses. The dress color is predominately red and is one of four related works from the artist's "Take Care of Them" suite.

Copyright %C2%A9 Dyani White Hawk%2C published by Highpoint Editions

Wačháŋtognaka | Nurture, 2019

Dyani White Hawk; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Woodcut trace monotyped in oil-based black ink on two sheets of sekishu paper from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with two additional sheets of sekishu paper using wheat starch and trimmed to size.

Copyright %C2%A9 Aaron Spangler%2C published by Highpoint Editions

Fence Lines, 2014

Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint depicting 14 book spines based on the "Human Behavior" series published by TIME-LIFE BOOKS with gold foil text. The original book spines were scanned, manipulated by the artist removing the text, separated and printed in C/M/Y/K. The text was recreated in a similar font eliminating the original's texture and screenprinted using acrylic adhesive onto which gold hot stamping foil was applied.

Copyright %C2%A9 Mungo Thomson%2C published by Highpoint Editions

Human Behavior, 2015

Mungo Thomson; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint based on the cover of "The Forest" from the "Nature Library" series published by TIME-LIFE BOOKS. The book cover was scanned, manipulated by the artist removing the original 'knocked-out' text and red text box, separated and printed in C/M/Y/K, and a clear satin was printed over the image. The text box was recreated and printed in red. The text was recreated in a font style similar to the original and printed in white ink.

Copyright %C2%A9 Mungo Thomson%2C published by Highpoint Editions

The Forest, 2015

Mungo Thomson; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
47-color screenprint and lithograph with collage, rubber stamping, and hand coloring.

Copyright %C2%A9 Carolyn Swiszcz%2C published by Highpoint Editions

Free News (large), 2005

Carolyn Swiszcz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Copyright %C2%A9 Linda Schwarz%2C published by Highpoint Editions

Untitled, 2002

Linda Schwarz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint and lithograph printed to resemble the words Ceaseless, Endless, Timeless, Boundless spelled out in 1 1/2 inch wide blue painter's tape on a sheet of stained and scuffed paper.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Ceaseless, Endless, Timeless, Boundless, 2010

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
16-color lithograph and screenprint.

Copyright %C2%A9 Lisa Nankivil%2C published by Highpoint Editions

Streaming, 2009

Lisa Nankivil; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lateral image of multicolored demolition truck facing to the L, with "31" painted on driver's door, "Miller Trucking" on truck bed, and exhaust tubes coming out from top of hood; lithograph printed in black on three panels with watercolor additions. The artist made three drawings for photolithographic plates. The plates were inked in black and the artist distressed the image by rubbing off areas of the image prior to printing each sheet. The sheets were then hand-colored by the artist using watercolor inks.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Miller Trucking, 2011

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lateral image of multicolored demolition car facing to the R, with "Team Gorman" painted on side of body, and exhaust tubes coming out from top of hood; lithograph printed in black on four panels with watercolor additions. The artist made four drawings for photolithographic plates. The plates were inked in black and the artist distressed the image by rubbing off areas of the image prior to printing each sheet. The sheets were then hand-colored by the artist using watercolor inks.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Team Gorman, 2011

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A diptych printed intaglio style in black ink from recycled wood flooring assembled by the artist with screenprinted colors intended to look like gymnasium floor markings.

Copyright %C2%A9 Rob Fischer%2C published by Highpoint Editions

Dodgeball, 2008

Rob Fischer; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A four run two-color screenprint of a white iron shape on a gray field on the left side and a gray iron shape on a white background on the right.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Enlightenment (ascending/descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A four run two-color screenprint of a light blue iron shape on a blue field on the left side and a blue iron shape on a light blue field on the right.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Wisdom (ascending/descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Woodcut print from one block in water-based black ink on cotton muslin, then sprayed with water to achieve an atmospheric effect. The print was hemmed on all sides and has hooks sewn on for installation. Being a variant edition, the prints were signed with Roman numerals I/X–X/X. Edition numbers I/X–VIII/X are part of a complete portfolio, including 12 prints on paper, a woodcut printed in black on muslin, a portfolio box with a spider web pattern screenprinted in transparent base on the cover, and an inkjet printed dust jacket. Edition numbers IX/X–X/X were offered as individual prints.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

At the Movies, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Clara Esther, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Calpurnia, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Bertha Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Carolina, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Bessie, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Jane, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Emma, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Ida Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Eva Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Two coyotes, each printed lithographically in white, grey, and black. One coyote with four US flags and a sign, the other holding a mask with the word "HELP'' between vertical ribbons and border. Hanji paper mask screen printed, hand-cut, and applied with BEVA film adhesive.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Tone Deaf, 2021

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Jonny Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Jesse Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Matti Lee, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Lula Bell, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Pearl, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Lucy, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Mammy, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Lilly, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Rose, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Fannie Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Savannah, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Anna Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Queen, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Dot, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint with applied gold foil in 14 colors from stencils produced using drawings made by the artist referencing Lakota dentalium yoked dresses. The dress color is predominantly blue and is one of four related works from the artist's "Takes Care of Them" suite.

Copyright %C2%A9 Dyani White Hawk%2C published by Highpoint Editions

Wówahokuŋkiya | Lead, 2019

Dyani White Hawk; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint with applied bronze foil in 18 colors from stencils produced using drawings made by the artist referencing Lakota dentalium yoked dresses. The dress color is predominantly green and is one of four related works from the artist's "Takes Care of Them" suite.

Copyright %C2%A9 Dyani White Hawk%2C published by Highpoint Editions

Nakíčižiŋ | Protect, 2019

Dyani White Hawk; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint with applied copper foil in 20 colors from stencils produced using drawings made by the artist referencing Lakota dentalium yoked dresses. The dress color is predominately gold and is one of four related works from the artist's "Takes Care of Them" suite.

Copyright %C2%A9 Dyani White Hawk%2C published by Highpoint Editions

Wókaǧe | Create, 2019

Dyani White Hawk; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Monoprint combining five colors bleed printed lithographically using split­fount inking from three plates on okawara paper and monotyping by the artist. The print was then adhered to the Arches Cover backing sheet. Being a variant edition, the prints were signed with Roman numerals I/XII -XII/XII.

Copyright %C2%A9 Joel Janowitz%2C published by Highpoint Editions

Scroll (VII), 2005

Joel Janowitz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Two sheets of translucent gampi printed from drawings on lithographic limestone made by the artist with lithographic crayons. One sheet floated over the other and adhered minimally at the top corners allowing the bottom drawing to be seen through the top sheet and drawing. Each drawing is figurative.

Copyright %C2%A9 Chloe Piene Studio%2C published by Highpoint Editions

Clotho, 2010

Chloe Piene; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

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