Artists

Hurvin Anderson B. 1965, BIRMINGHAM, ENGLAND Hurvin Anderson has been making montotypes and limited edition print editions with Durham Press since 2009, using screenprint, relief, monotype,l and intaglio to produce abstracted barbershop scenes, mirrors, and portraits, among other subjects. British painter Hurvin Anderson lives and works between London and Cambridgeshire. He studied painting at the Wimbledon College of Art and received his Masters from the Royal College of Art in 1998. Anderson’s work shifts between abstraction and representation, featuring pared-down compositions that draw on art-historical traditions of still life, landscape, and portraiture. He often depicts barbershops, parks, beaches, and other social places as a means to explore questions about community, identity, and inclusion, especially as it relates to his Jamaican heritage and the Afro Caribbean diaspora. Exhibition, Ferens Art Gallery, Hull, England (2017). Anderson is represented by Michael Werner Gallery in New York and Thomas Dane Gallery in London. His work is in numerous collections, such as those of the Museum of Modern Art, New York, and Tate, London.

Polly Apfelbaum, B. 1955, PHILADELPHIA, PA New York based artist Polly Apfelbaum has been showing consistently in the US and abroad since the 1980s. She has been making prints with Durham Press since 2002 and exhibited a survey of that work in the 2017 exhibit Chromatic Scale: Prints by Polly Apfelbaum at the National Museum of Women in the Arts, Washington, DC. Solo exhibitions include Alexander Gray, New York (2017); Otis College of Art and Design, Los Angeles (2016); Bepart, Waregem, Belgium (2014); Worcester Art Museum, Worcester, MA (2014); Electric Zinia Factory, Germany (2014); lumber room, Portland, OR (2014); Mumbai Art Room, Mumbai, India (2013). T-Space, Milan, NY, (2012); Galerie Nachst St. Stephan, Vienna, (2012); D’Amelio Gallery, New York, (2012); Carlow Visual Center for Contemporary Art, Carlow, Ireland, (2009); and Milton Keynes Gallery, Milton Keynes, UK, (2009); Frith Street Gallery, London, (2007). A major mid-career survey of her work opened in 2003 at the Institute for Contemporary Art in Philadelphia, PA and traveled to Kemper Museum of Contemporary Art, Kansas City, MO, and Contemporary Arts Center, Cincinnati, OH (2004). Her work has been featured in important group exhibitions including Abstranded: Fiber and Abstraction in Contemporary Art, Everson Museum of Art, Syracuse, NY (2021); Pattern II, Anne Mosseri-Marlio Galerie, Basel, Switzerland (2020); Maneuver, Hunter College, New York, New York (2019); An Irruption of the Rainbow, Los Angeles County Museum of Art, Los Angeles, CA (2016); Wall to Wall, MOCA Cleveland, Cleveland, OH (2016); Pretty Raw: After and Around Helen Frankenthaler, Rose Art Museum, Waltham, MA (2015); Three Graces, Everson Museum of Art, Syracuse, NY (2015); Pathmakers: Women in Art, Craft and Design, Midcentury and Today, Museum of Art and Design, New York (2015); AMERICANA: Formalizing Craft, Perez Art Museum Miami, Miami, FL (2013); Regarding Warhol: Sixty Artists, Fifty Years, Metropolitan Museum of Art, New York, (2012); Lines, Grids, Stains, and Words (2008), Comic Abstraction (2007), and Sense and Sensibility: Women and Minimalism in the 90’s (1994) all at the Museum of Modern Art, New York; Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, (2005); As Painting: Division and Displacement, Wexner Center for the Arts, Columbus, OH, (2002); Operativo, Museo Rufino Tamayo, Mexico City, (2001). Her work is in the collections of The Museum of Modern of Art, New York; The Whitney Museum of Art of American Art, New York; Brooklyn Museum of Art, New York; The Los Angeles County Museum of Art, Los Angeles; Albright-Knox Art Gallery, Buffalo, NY; The Henry Art Gallery, Seattle, WA; The Dallas Museum of Art, Dallas, TX; Philadelphia Museum of Art, Philadelphia, PA; The Carnegie Museum of Art, Pittsburgh, PA; Pennsylvania Academy of Fine Arts, Philadelphia, PA; The Everson Museum of Art, Syracuse, NY; and the Perez Museum, Miami. She was the recipient of a Pollack-Krasner Foundation grant in 1987, a Guggenheim Fellowship in 1993, an Artist’s Fellowship from the New York Foundation for the Arts in 1995, an Anonymous Was a Women Award in 1998, a Richard Diebenkorn Fellowship in 1999, a Joan Mitchell Fellowship in 1999, an Academy Award from the American Academy of Arts and Letters in 2002, and the Rome Prize in 2012. Apfelbaum is represented by Frith Street Gallery in London.

Roland Fischer lives and works in Munich, but is very often found traveling the globe to photograph his remarkable projects. Roland has been collaborating with Durham Press since 2001, making screenprints and woodblock prints based on his photographs of building facades and interiors. Named one of Germany’s top ten photographers by Photo Technik International, Fischer has earned a reputation as a key figure in contemporary German art. Roland’s work is exhibited widely across the globe, Selected solo exhibitions include a major retrospective at the Saarlandmuseum, Saarbruecken, as well as recent shows at Eretz Isreal Museum, Tel Aviv, Israel (2016); Europäisches Künstlerhaus Oberbayern, Freising, Germany (2016); Carlos Carvalho Arte Contemporanea, Lisboa, Portugal (2016); Walter Storms Galerie, Munich, Germany (2015); Palais des Beaux Arts de Lille, France (2013); Galeria Presenca, O Porto, Portugal (2012); Galería Maior, Pollenca, Spain (2012); Von Lintel Gallery, NY (2009). Fischer’s work is included in numerous public collections, including the Bayerische Staatsgemäldesammlungen, Munich; Museo Casal Solleric, Spain; Galeria Pelaires, Spain; Wallraf-Richartz Museum, Germany; Centre Culturel la Maison Rouge, Paris; Institute d’Art Contemporain, France; Von Lintel Gallery, Los Angeles; Lehmbruck Museum, Germany; Fonds National d’Art Contemporain, Paris (FNAC); Fondation Musée d’Art Moderne Grand-Duc Jean, Luxembourg; Grand Rapids Art Museum, Grand Rapids; Marguiles Family Collection, Miami: Musée d’Art Moderne de la Ville de Paris; Musée d’Art Moderne et Contemporain, Strasbourg; Museum van Hedendaagse Kunst, Antwerp; Museo de Arte Contemporáneo de Castilla y Leon (MUSAC); Städtische Galerie im Lenbachhaus, Munich; Sammlung Thyssen-Bornemisza, Salzburg.

Chitra Ganesh B. 1975, BROOKLYN, NY Ganesh has been collaborating with Durham Press since 2014, producing screenprint and relief editions as well as an extended artist’s book and portfolio, Sultana's Dream. Chitra Ganesh’s multidisciplinary practice centers on drawing and also includes paintings, murals, films, and texts. Having studied comparative literature and semiotics, she often uses narrative in her work as a way to critically address themes of gender, power, and sexuality. Her imagery is informed by mythology, surrealism, Hindu and Buddhist iconography, South Asian art history, Indian comic books, feminism, science fiction, postcolonial studies, queer theories, and more. Represented by Gallery Wendi Norris, San Francisco, and Gallery Espace, New Delhi, Ganesh has been the subject of several individual presentations at these venues. She has also had solo shows at public institutions such as the Leslie-Lohman Museum of Art, New York (2020); Memorial Art Gallery, University of Rochester, New York (2019); The Kitchen, New York (2018); Rubin Museum of Art, New York (2018); Times Square, New York (2018; as part of the Midnight Moments series); Bangladesh Shilpakala Academy, Kishoreganj (2016); Brooklyn Museum, New York (2015); Gothenburg Kunsthalle, Sweden (2012); Andy Warhol Museum, Pittsburg (2011); and MoMA P.S.1., New York (2009). Her work is in numerous public and private collections, including those of the Art Institute of Chicago; Baltimore Museum of Art; Brodsky Center for Innovative Editions, Rutgers University, New Brunswick, New Jersey; Brooklyn Museum, New York; Cleveland Clinic; Devi Art Foundation, Gurgaon, India; Deutsche Bank, Frankfurt; Fine Arts Museums of San Francisco; Ford Foundation, New York; Gwangju Contemporary Art Museum, South Korea; Kadist Foundation, San Francisco and Paris; Kiran Nadar Museum, New Delhi; Leslie-Lohman Museum of Art, New York; Museum of Modern Art, New York; Philadelphia Museum of Art; Queens Museum of Art, New York; Rhode Island School of Design Museum, Providence; Saatchi Collection, London; San Francisco Museum of Modern Art; Samdani Art Foundation, Dhaka; Smithsonian American Art Museum, Washington, D.C.; and Whitney Museum of American Art, New York.

John Giorno B. 1936, produced his first Poem Painting in 1989 and soon after, in 1991, began collaborating on Poem Prints with Durham Press, eventually completing thirty screen print editions. Like their painted counterparts that he made into the 2010s, Giorno’s printed poems feature concise passages of text permeated with humor, an acerbic wit, eroticism, and tenderness. Best known as a poet and performance artist, John Giorno rose to prominence in 1960s New York, where he would continue to have a wide-ranging impact on cultural life for six decades. He starred in Andy Warhol’s film Sleep in 1963 and soon began to draw on Pop art’s sensibilities to reimagine contemporary poetry. While Giorno published twenty printed volumes, as well as a memoir, he also helped devise and promote new mediums for experiencing poetry. In 1968 he debuted Dial-a-Poem, allowing audiences to hear recorded readings via telephone. Around that time, in order to continue to advance innovative ways of bringing poetry to the public, he formed Giorno Poetry Systems, collaborating with luminaries such as Laurie Anderson, William S. Burroughs, Allen Ginsburg, Philip Glass, and Patti Smith. Giorno expanded his nonprofit in 1985 to include the AIDS Treatment Project, an organization offering assistance to individuals suffering from HIV/AIDS. Giorno produced his first Poem Painting in 1989 and soon after, in 1991, began collaborating on Poem Prints with Durham Press, eventually completing thirty screenprint editions. Like their painted counterparts that he made into the 2010s, Giorno’s printed poems feature concise passages of text permeated with humor, an acerbic wit, eroticism, and tenderness. After his death in 2019, the John Giorno Foundation was established to preserve and further Giorno’s multifaceted practice, including his poetry, visual art, and activism, as well as his advocacy for the Nyingmapa tradition of Tibetan Buddhism. Giorno’s work is represented by Sperone Westwater, New York. Throughout his career Giorno performed, published, and exhibited internationally, including in seminal group exhibitions, such as Information at the Museum of Modern Art, New York (1970) throughout his career. Solo exhibitions include presentations at Galerie Almine Rech, Paris/Brussels (2009, 2010, and 2012); Elizabeth Dee, New York (2015 and 2017); the gallery of Cahiers d’Art, Paris (2017); Galerie Eva Presenhuber, Zurich (2017); and Sperone Westwater, New York (2019). In 2015 Giorno’s husband, the artist Ugo Rondinone, curated a retrospective titled I ♥︎ John Giorno at the Palais de Tokyo, Paris, which traveled in 2017 to thirteen venues across New York City.

Jacob Hashimoto has been collaborating with Durham Press since 2015, producing print editions and mono prints, featuring intaglio, woodblock, and screenprint. His prints often reference his kite works, reflecting on and reimagining aspects of his process—from the blueprint-like imagery of Lemmata (2015), to the nearly two hundred individual kite images in The Hashimoto Index (2018), to the playful compositions of The Necessary Invention of the Mind (2020).

Michael Heizer Limited Edition Prints Michael Heizer has been collaborating with Jean-Paul Russell and Durham Press since its start in 1988. Together they have experimented and collaborated on multiple editions and monoprints. The ambitious and unusual prints evoke ancient rocks and enigmatic, primeval forms; they also document the visual language of a profound sculptor.

Jenifer Kobylarz Limited Edition Prints

Beatriz Milhazes has been making limited edition prints with Durham Press in Pennsylvania since 1996.

Jamie Nares has been collaborating with Durham Press since the early 2000s, producing screen prints with her signature, large-scale brushstrokes. Since 2016, her printmaking practice has expanded to also include intaglio prints, adapting road-painting machines and spinning-lathes to create striking images that reference her Road Paint and High Speed Cone Graphs Series. Jean-Paul Russell and Durham Press have often collaborated on other projects with Jamie, including film and Road Paint paintings, and development of stepped cones for drawings and prints. Nares is represented by Paul Kasmin, New York. In 2019 a major retrospective of the artist’s work was mounted at the Milwaukee Art Museum. Nares has had numerous solo shows at Paul Kasmin and other galleries, and her films and visual arts have been featured in individual presentations at institutions including the National Gallery of Art, Washington, D.C. (2014); Sundance Film Festival (2014); Cleveland Institute of Art (2013); Metropolitan Museum of Art, New York (2013); St. Louis Art Museum (2012); and Anthology Film Archives (2008), among many others. Nares’s work is included in many prominent collections, including those of Albright-Knox Art Gallery, Buffalo, New York; Hood Museum of Art, Hanover, New Hampshire; Long Museum, Shanghai; Metropolitan Museum of Art, New York; Milwaukee Art Museum; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Wadsworth Atheneum, Hartford, Connecticut; and Whitney Museum of American Art, New York. This artist is referred to as James Nares and with the pronouns she/her in all written materials at the request of Nares, who has been public with her gender identity since 2019. James Jamie Nares has been collaborating with Durham Press since the early 2000s, producing screenprints with her signature, large-scale brushstrokes. Since 2016 her printmaking practice has expanded to also include intaglio, adapting road-painting machines and spinning-lathes to create striking images.

Tom Slaughter Fine Art Prints

Lisa Stefanelli Fine Art Prints

Alison Elizabeth Taylor Limited Edition Prints

Mickalene Thomas FIne Art Prints

Leslie Wayne Limited Edition Prints

B. 1961, TORONTO, CANADA Ray Charles White has lived and worked in New York since the early 1980’s. He studied photography with Ansel Adams in Yosemite, and then at the School of Visual Arts and the New School in New York, before beginning his career photographing for Andy Warhol’s Interview Magazine. He also is known for his portraits of celebrated cultural figures including William Burroughs, David Hockney, Louise Bourgeois, Tony Bennett, and Allen Ginsberg among others. In an essay on White’s work, Henry Geldzahler (former Dia curator & curator of 20th Century Art, Metropolitan Museum of Art) wrote: “It was David Hockney, who, in many sessions of working and talking, emphasized to Ray that one of the true subjects of photography is the ebb and flow of the life of the moment, the continuum of time and space in which photographer and subject find themselves. Ray brings no theoretical considerations to bear in his work, no gimmicks, no preordained compositional preferences. Lit naturally, laying bare the workings of time. Ancient and immediate. He fixes his images tenderly yet forcefully.” White’s work has been shown both nationally and internationally. Exhibitions include: Senior & Shopmaker, New York; Marcia Rafelman Fine Arts, Toronto, Albemarle Gallery in London, and Marcel Sitcoske, San Francisco, CA. White’s work can be found in the collections of the Tate, London, FAE-Musee D’Art Contemporaine, Lausanne, Switzerland, California State University, Modern Collection, and the Dia Art Foundation, New York.