Looking for medina, metius, media, medic?

%C2%A9 David Rich

Is it the Moon? (that pulls us together), from "Intimate Immensity", 2007

David Rich; Publisher: Form and Content Gallery, Minneapolis

Not on View

leaf with insect holes upside down at bottom of image; leaf's stem connected to maple seed pod at top — nth root, from "Intimate Immensity", 2007
Lynda Monick-Isenberg; Publisher: Form and Content Gallery, Minneapolis

Not on View

Light grey paper; square image with two separate images of wheat at top; light green band with title below images of wheat; immense wheat fields at bottom with fence from LRC running diagonally back to horizon line — negative impressions of infinite depth, from "Intimate Immensity", 2007
Jody Williams; Publisher: Form and Content Gallery, Minneapolis

Not on View

Two Haystacks, Pine County, Clement Haupers — Two Haystacks, Pine County, 1915-1982
Clement Haupers

Not on View

Induction (Did You Love Your Mother?), Clement Haupers — Induction (Did You Love Your Mother?), 1945
Clement Haupers

Not on View

Blind intaglio of triangle and rectangle — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Two-color intaglio printed in heavenly blue and indigo. Hard-ground and spit-bite aquatint techniques were used to create the copper intaglio plate. — East, 2002
Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View

Untitled I, Adja Yunkers — Untitled I, 1978
Adja Yunkers

Not on View

Live, James Byrne — Live, 1977
James Byrne

Not on View

From a suite of five prints — Untitled II, 1978
Adja Yunkers; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

Night, Philip J. von Raabe — Night, 1978
Philip J. von Raabe

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Small House, Cagnes, Clement Haupers — Small House, Cagnes, 1915-1982
Clement Haupers

Not on View

The Rock, Anton Heyboer; Printer: Anton Heyboer — The Rock, 1964
Anton Heyboer; Printer: Anton Heyboer

Not on View

Summer Idyll, Kettle River, Clement Haupers — Summer Idyll, Kettle River, 1952
Clement Haupers

Not on View

Storm Clouds, Clement Haupers — Storm Clouds, 1972
Clement Haupers

Not on View

caricature — Les montagnes russes, ou la rassion du gour, c. 1815-1820
Les Noel Publishers

Not on View

two sheets attached together in vertical format; top sheet has rust, orange and yellow cloudy ground with twisting background shapes, linear grey coil and turquoise linear coil on top; bottom sheet has blue ground with fuzzy gold interior area; looping linear shapes in orange and pale yellow — In Step Out of Step II, 1997
Steven Sorman

Not on View

two sheets attached together in vertical format; top sheet has iridescent gold ground with purple at R and L edges, linear knot-like design in white and solid grey organic knot-like shape; bottom sheet has orange ground with linear white loops and cone-like "cages" and red linear coils — In Step Out of Step VI, 1997
Steven Sorman

Not on View

two sheets attached together in vertical format; top sheet has lightly spotted white ground with two spiral-like shapes; bottom sheet has iridescent red ground with white coiling shape and two purple loops — In Step Out of Step I, 1997
Steven Sorman

Not on View

two sheets attached together in vertical format; top sheet has orange and tan ground with purple linear swirls and white linear geometric and organic design; bottom sheet has purple and lavender ground with pink and red cage-like linear designs and solid pink openwork flame-like form — In Step Out of Step IX, 1997
Steven Sorman

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. — 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. — 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. — 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. — 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. — 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. — 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. — Eva 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. — 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. — 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. — 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. — 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. — 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. — 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. — 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. — 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. — 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. — 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. — Rose, 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. — Ruth, 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. — 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. — 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. — 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. — Zeddie, 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. — 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. — Dot, 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. — 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. — 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. — Savannah, 2012
Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Unpublished proof of intaglio and lithography. — Waiting Cloud, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

silhouette of a flying bird above the silhouette of an open hand; symbol in black rectangle below hand — A Dream Once Lost, from "Intimate Immensity", 2007
Camille J. Gage; Publisher: Form and Content Gallery, Minneapolis

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Four-color intaglio printed in process yellow, red, blue, and black inks. Hard-ground and spit-bite aquatint techniques were used to create the copper intaglio plate. After drying and flattening, the intaglio inks were screenprinted over with a very transparent satin golden yellow. — South, 2002
Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

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Montana’s Killing Me — Progressive proof #3, horizon added, for Montana's Killing Me, 2002
David Rathman

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Montana’s Killing Me — Progressive proof #1 for Montana's Killing Me, 2002
David Rathman

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Montana’s Killing Me — Progressive proof #4, burnished deletion, for Montana's Killing Me, 2002
David Rathman

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Montana’s Killing Me — Progressive proof #6, text added, for Montana's Killing Me, 2002
David Rathman

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Montana’s Killing Me — Progressive proof #5, new horizon added, for Montana's Killing Me, 2002
David Rathman

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state proof; abstract composition of varying lines with blank space in ULQ — Proof #1 for "II" from "days" suite, 2021
Jim Hodges

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state proof; abstract composition of varying lines — Proof #5 for "II" from "days" suite, 2021
Jim Hodges

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state proof; abstract composition of varying lines — Proof #3 for "II" from "days" suite, 2021
Jim Hodges

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state proof; abstract composition of varying lines — Proof #2 for "II" from "days" suite, 2021
Jim Hodges

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state proof; abstract composition of varying lines — Proof #4 for "II" from "days" suite, 2021
Jim Hodges

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caricature — Un Baladin/ en campagne, c. 1845
Amédéé Varin; Engraver: Amédéé Varin; Publisher: G. de Gonet

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man wearing a tie holding a nude baby upside down and dunking its head in a sink of water in a bathroom with a woman wearing a skirt and heels looking on; printed in black — Baptism, 20th century
Gregory Gillespie

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Plate 591 — Scilla Offic, 1757-1773
Elizabeth Blackwell (after); Artist: N. F. Eisenberger; Publisher: Christoph Jakob Trew

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Somnium, Leonardo Lasansky — Somnium, 1980
Leonardo Lasansky

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Not in Any Given Place, Steven Sorman — Not in Any Given Place, 1978
Steven Sorman

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One (no two), Steven Sorman — One (no two), 1981
Steven Sorman

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Immobile Sun XXI-B, Adja Yunkers — Immobile Sun XXI-B, 1982
Adja Yunkers

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caricature — Cucurbitus 1er/ Costume d'apparat, c. 1845
Amédéé Varin; Engraver: Amédéé Varin; Publisher: G. de Gonet

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caricature — Carotte conjugale, c. 1845
Amédéé Varin; Engraver: Amédéé Varin; Publisher: G. de Gonet

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Frontipiece and Title Page from Plusiers Guirlandes, Vases et Bouquets de Fleurs, Nicholas Robert — Frontipiece and Title Page from Plusiers Guirlandes, Vases et Bouquets de Fleurs, 1673
Nicholas Robert

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Water Please, Omar Rayo — Water Please, 1965
Omar Rayo

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Caricature — Etrenne pour le Jour de 1An 1820/ Preservatif certain contre la Piqure, early 19th century
Unknown French

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Grassland, Sakamoto Kōichi — Grassland, 1960s
Sakamoto Kōichi

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Thistles, 1963

Glen Hoover

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Figure and Cloud, 1975

Chris Kakas

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Expulsion, 1963

John A. Anderson

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two sheets attached together in vertical format; top sheet has iridescent purple-brown ground with looping shapes and two grey solid coils; bottom sheet has red and blue ground with organic linear shapes in orange and red — In Step Out of Step V, 1997
Steven Sorman

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two sheets attached together in vertical format; top sheet has green and orange ground with blue, orange and yellow looping shapes in linear format and two grey organic solid shapes; bottom sheet had mottled purple ground with linear looped coils in white and cone-shaped purple linear cage-like design — In Step Out of Step IV, 1997
Steven Sorman

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two sheets attached together in vertical format; top sheet has swirled ground in orange, yellow and blue with solid grey organic shape; bottom sheet has purple and gold ground with linear organic design in white — In Step Out of Step VIII, 1997
Steven Sorman

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two sheets attached together in vertical format; top sheet has red ground with gold fingerprints and gold flame-like shapes; bottom sheet has turquoise and black ground with black and white linear coil designs and three solid iridescent bronze curls — In Step Out of Step VII, 1997
Steven Sorman

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two sheets attached together in vertical format; top sheet has lightly spotted rust on white ground with linear organic shapes in rust; bottom sheet has swirled brick red, bright red, olive and tan ground with purple-grey linear loops (light) and thicker grey and white coils of various sizes — In Step Out of Step III, 1997
Steven Sorman

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Five-color screenprint in silver, metalic pearl blue, gold, and red with three over printings of gloss clear and flat green. After printing, the image was debossed with an intaglio plate to create a plate mark. — West, 2002
Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

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Plate 483 — White Poppy, 1737
Elizabeth Blackwell

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golden tan background, rusty red center circle; background has an image of fabric with an inner square set at an angle — A Moment into Eternity II, 1982
Adja Yunkers; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

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Plate 269 — Dragons, 1737
Elizabeth Blackwell

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Insects. — Nacht-Vlinders van't Eeerste Gezin Der Eeerste Bende. Tab. III., 1762-1860
Jan Christian Sepp

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gray paper; abstract image with irregular, fuzzy-edged black form at right; crackle textures along top and left edges and half of bottom edge, in black, blue and dark red; two larger shapes in crackle pattern at left — Hover I, 2007
Fred Hagstrom; Publisher: Form and Content Gallery, Minneapolis

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Cloth-covered boards with intaglio print adhered to front board; codex binding; 15 pp. — Echo, 2007
Fred Hagstrom; Author: Greg Hewett , American, born 1958; Publisher: Strong Silent Type Press, St. Paul, Minnesota

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three images on one sheet, with seams, forming continuous scene; head of a man with thinning hair right of center on central image with a flat landscape behind him with grasses; low horizon line, cream-colored sky; dark orange band with grey and black text and organic elements beneath each image; cream-colored frame — Fragments of The Sublime, 2015
Leonardo Lasansky

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Lithographic pencil on stone printed in Shop Mix black on natural kitakata chine collé; solid hard-edged intaglio aquatints printed in Bone black; screenprinting in opaque white and semi-transparent white; and screenprinting in flat black. — Complete Isolation, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Spit-bite intaglio printed in warm brown on natural kitakata chine collé; solid hard-edged aquatints printed in Bone black; screenprinting in opaque white; and screenprinting in flat black. — Organized Opposition, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Lithographic pencil on stone with deleted negative shape printed in Shop Mix black on kitakata chine collé; solid hard-edged aquatints printed in Bone black; and screenprinting in opaque white. — Strange Amalgamation, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Lithographic pencil on stone with deletions creating positive shapes printed in Shop Mix black on white gampi chine collé; spit-bite intaglio in warm brown; and solid hard-edged aquatints printed in Bone black. — Faithful Manipulation, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Lithographic pencil and tushe splatters on stone printed in Shop Mix black on natural kitakata chine collé; solid hard-edged aquatints printed in Bone black; and screenprinting in opaque white and semi-transparent white. — Interrupted Universe, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Spit-bite intaglio printed in warm brown on natural kitakata chine collé; solid hard-edged aquatints printed in Bone black; screenprinting in opaque white and semi-transparent white; and screenprinting in flat black. — The Science of Symmetry, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Lithographic pencil on stone with a deleted negative shape printed in Shop Mix black on okawara chine collé; solid hard-edged aquatints printed in Bone black; and screenprinting in opaque and transparent white inks. — Reworked Iconography, 2005
Clarence Morgan; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Untitled, Linda Schwarz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis — Untitled, 2002
Linda Schwarz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Untitled, Linda Schwarz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis — Untitled, 2002
Linda Schwarz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Montana’s Killing Me — Progressive proof #2, with hand coloring, for Montana's Killing Me, 2002
David Rathman

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