Exhibition Statement

A democratic society depends on access to the press, as guaranteed in The 1st Amendment of U.S. Constitution. Black, indigenous, immigrants, and women of color (BIWOC) were not among early American printers, nor were many white women.  BIWOC initiatives attempt to improve print access, adding more female voices to the debate about what is important to all of us.  

Recent events, such as ‘DEI orders’ and anti-woke initiatives, have dampened access to long overdue representation.  Residencies, fellowships, or scholarly collaborations provide time, space and resources to create bodies of work that break barriers.  It is true, sometimes women’s voices in print can cause discomfort. The printed word, symbols, and ideas outlive the time in which they are made.   

Some opponents of equal access object to the growing influence of women in the print community.   Women who want unlimited intellectual freedom to think, speak, write and print ideas are viewed as ‘trouble-makers’. When in reality women printers want the ability to participate in political, social and domestic conversations. This volume of Graphic Expressions presents the work of some contemporary women printers. Some are peaceful, some are bold, some are demanding, some are radical and some are denied. But, they all Hold the Door Open to insure access to the next generation.      

2023 and 2024 Hamilton Wood Type Museum BIWOP fellows- Melissa Blount, Jennifer Graves, and Desiree Aspiras prints are reminiscent of Ida B. Wells’ social justice protest journalism, challenging discrimination and stereotypes. They proclaim in broadsides and books that the nature of democracy is fragile and the changes to the existing structures are necessary. 

As light as angels- large and gently pushing open heavy doors- Vida Sacic, e Bond, Stephanie Carpenter,  and Sharon Jue use large type, symbols, text size, color and context to impact viewers. While Veronica Jackson and Jun Lee prints demand attention; they both knock down doors, ‘speaking truth to power’ with an awareness of how their ethnicities influence their views.

From woodcuts to wood type, indigenous artists use symbolism and structures to engage. Julie Chen and Sharon Jue tell stories in print and artist book formats, honoring their Asian heritages, as well. Their quiet political commentary is as bold as fellow artist Rachel Simmons ‘climate change’ voice printed in artist book format. These printers have an uncompromising purpose.

Repeatedly, Ida B. Wells shows up. In Sarah Faith Mathews’ fearless prints and artist books, she addresses the personal property rights of women to care and protect their bodies from harm. Mathews print partner, Lauren Emeritz ‘poke fun’ and boldly take-up space, remaining the viewer that color has value. These artists are determined to represent the joy of printmaking. Color, Elaisha Hillard’s saturation point is steeped in messages celebrating the Black feminine mystic.

Scrolling through each printer’s collection, Hold Open the Door presents the complex nature of womanhood, printmaking, access and diversity of ideas.  These printers are more than fine artists, they engage in nonviolent direct action for social, political, and domestic change; making print-culture a powerful weapon.