“What a Relief! Variations on Printmaking” at Augustana College


The exhibition “What a Relief! Variations on Printmaking” connects historical and contemporary art by featuring works from the Augustana Teaching Museum of Art’s collection as well as recent works by local printmaker Joseph Lappie and fiber artist Janet Taylor. 

Works from Augustana’s collection are ukiyo-e prints, a genre of Japanese woodblock prints from the 19th century, many of which have not been displayed in the museum’s recent history. These historical works will provide a reference point for the contemporary works of Lappie and Taylor.


Lappie, an associate professor at St. Ambrose University, teaches printmaking, papermaking, book arts and drawing. His work in this exhibition is based on the Nuremberg Chronicles, an illustrated world history that first appeared in 1493. Lappie tells the story of the people and their journey along the way, as well as how the stories relate to memory. It is the first time this series has been exhibited in the Quad Cities.

Taylor established herself as an artist with her tapestries and silk organza layered wall pieces. Recognized as an artist, speaker and educator, Taylor has exhibited regionally, nationally and internationally since 1969 and has had her own studio in North Carolina since 1990.

Combining these three collections has sparked creativity and appreciation for the breadth of relief printmaking, which is the first printmaking process invented, dating back to 255 B.C. This exhibition exemplifies that art can not only withstand the test of time, but also be interpreted and approached from many different angles.

Some of the most intriguing inspiration stemming from this exhibition comes from Augustana assistant professor and violist Deborah Dakin with her recital performance of “Oceans and Crossings.” Much like relief printmaking enables commonality among the exhibiting artists, Dakin will encourage engagement with parallels between music from the East and the West to explore ways to listen with understanding and appreciation.

“What a Relief! Variations on Printmaking”
August 20, 2015 – October 30, 2015
Augustana Teaching Museum of Art
Augustana College, Rock Island, IL

Profile: 101 Wood Maple Finish 04 NGA Pickled


Standard Profile: 106
Type: standard wood frame
Wood & Finish: maple wood frame with pickled white finish
Purchasing Options: joined wood frame
Custom Frame Strainer: 3/4″ wood frame strainer with inserts
Custom Frame Acrylic: UV acrylic cut to size
Custom Frame Backing Boards: archival coroplast cut to size

Virmarie DePoyster “Revelation” United States Embassy in Rome, Italy

Virmarie DePoyster is the first Arkansas artist to be selected for a solo exhibition at the United States Embassy in Rome, Italy. Her exhibition, Revelation, curated by Anna Maria Volpacchio, will be on view at the United States Embassy’s Tri-Mission Art Gallery September 1 – 30, 2015. The North Little Rock artist will be honored at a reception given by the Community Liaison Office at the U. S. Embassy in Rome on September 29, 2015, and she will also teach a pastel class to embassy personnel.

DePoyster’s technical mastery of the pastel medium has brought her national recognition. She won first place at the Arkansas Pastel Society National exhibition in 2013 and honorable mention at the 50th Annual Delta Exhibition. Her paintings are in public and private collections throughout the United States and internationally. She teaches at the Arkansas Arts Center and is an Artist in Residency through the Arkansas Arts Council Arts In Education program.

The Journey
The Journey
Her Last Dance
Her Last Dance


Revelationis an exhibition of 18 pastel and mixed media works exploring issues of spirituality, identity and human connection within the natural world, the source of DePoyster’s passion and inspiration. In these works, words manifest as layers of her past, shaping her current human experience. Each piece has as its base layer printed words that have been lifted from the Bible or other sources that are personally meaningful to her. In some of the paintings, the printed layers are clearly visible, and in others, they are obscured; in this way, DePoyster delves into the meaningful selectivity we use in deciding which layers of our personal stories we will share with others and which we will withhold. As always, color is a technique, a tool, a language she uses to emphasize an overall mood. Abstracting the subject matter, manipulating shapes, and incorporating texture that evokes an emotional response unify these paintings, however diverse. At first glance, it may be these elements that capture the viewer’s eye, but with closer observation, the words arise from the background and therein the deepest layer of each piece, both literally and symbolically, is revealed.

Virmarie DePoyster
September 1 – September 30, 2015
Tri-Mission Art Gallery
U.S. EmbassyRome, Italy



106 maple clear water based finish


Standard Profile: 106
Type: standard gallery frame
Wood & Finish: joined wood frame with clear finish
Purchasing Options: joined wood frame
Framing Advice: fitting gallery frames

Adam Ryder “Renovatio Imperii”

Through photography, found imagery and other media, Adam Ryder presents a new body of work that operates as evidence of a secretive fraternal organization known to its members as “Renovatio Imperii”. Latin for “restoration of the Empire”, Renovatio Imperii is purported to be clandestinely involved in geo-political affairs and claims ties to the Roman imperium of classical antiquity. Inspired by the neoclassical architecture of Washington, DC, conspiracy theories and the Masonic brotherhood, Ryder cleverly employs found objects, imagery and manipulated photographs of familiar landmarks in order to build a case for Renovatio Imperii’s existence and their ominous hand in global affairs.


Oculus (20×25) All images are copyright of Adam Ryder


Caesar et al. (24×30) All images are copyright of Adam Ryder


Council Chamber (24×30) All images are copyright of Adam Ryder


Hallowed Grounds (20×25) All images are copyright of Adam Ryder

Adam Ryder Hamiliton Gallery

Council Chamber (24×30) All images are copyright of Adam Ryder



Adam Ryder received his MFA in photography, video and related media from the School of Visual Arts, New York, NY in 2011. In addition to his photographic practice, Ryder works as a curator and contributing writer for Photograph Magazine. Ryder’s work is in the permanent collections of the Museum of Jurassic Technology, Los Angeles, CA, The New York City Public Library Photography Collection and the Tokyo Metropolitan Museum of Photography Library. He has been featured in various group exhibitions including RF/AV and Rational Formal at NurtureArt in Brooklyn, NY (2015); Interweb at Grand Art Haus in New York, NY (2015); and Art After Clark at the Schiltkamp Gallery in Worcester, MA (2014).

Hamiltonian Gallery
Washington, DC
August 8, 2015 – September 12, 2015

Photo: Adam Ryder




Thin Profile: 102
Type: Floating Gallery Frame
Wood & Finish: maple wood frame with natural cherry finish
Purchasing Options: joined wood frame
Custom Wood Spacer: 1/2″ wood frame spacer
Custom Wood Strainer: 1/2″ wood frame strainer
Custom Frame Acrylic:  acrylic cut to size

Metropolitan frames “On the road”


The Artmobile has been serving the state of Arkansas for over 50 years and is one of the nation’s very few mobile art museums. This unique gallery space features themed exhibitions of works from the Arkansas Arts Center’s permanent collection.  Works are carefully selected for their artistic integrity and educational value. The Artmobile is a perfect source of arts exposure for schools, libraries, festivals, and more!

“Animals: Familiar & Fantastic” highlights various artistic methods and techniques used to bring life to creatures both real and imaginary. This exhibition of works from the Arkansas Arts Center’s permanent collection encourages exploration of the human-animal connection and an assessment of our role in the amazing animal world.