In 2006, as part of the newly formed Friends of Art, a master printmaking program, Navigation Press: Prints, Books and Multiples, was established. Every year at George Mason University, Navigation Press, brings artists with national and international reputations to work directly with our students in the creation of an original edition of prints. Visiting resident artists over the past five years have included Lothar Osterburg, Beauvais Lyons, Renee Stout, Bill Dunlap, Karen Kunc, William Wiley, and Enrique Chagoya. The Friends of Art at George Mason have generously supported this residency series, affording Mason the opportunity to present lectures, exhibits, and workshops, so that students and public audiences have the chance to learn from contemporary masters who play a substantial role in the art world.
As a master printmaking and publishing program, Navigation Press was established to found a print collection and provide the excitement of residencies. Mason printmaking faculty and graduate and undergraduate students who enjoy this program continue their careers with a background in print-publishing, including identifying and collecting prints; museum acquisitions; and curatorial, educational, and other programming.
Navigation Press showcases the remarkable flexibility of the printmaking medium and the innovative partnership among artists, students, and working presses.
For more information, contact Christopher Kardambikis, Director of Navigation Press.
Connect with Navigation Press on Facebook, by liking the Friends of Art!
2015 Visiting Artist
Initiates the “Al-Mutanabbi Street Starts Here” DC Project
September 7-11, 2015
The School of Art is proud to announce that Helen Zughaib, internationally recognized artist based in Washington DC, will produce an original edition of prints for this season’s Navigation Press and will be our guest lecturer on Thursday, September 10, 2015 at our Visual Voices Professional Lecture Series in Harris Theater, 7:30 p.m. – 8:30 p.m.
Helen Zughaib was born in Beirut, Lebanon, living mostly in the Middle East and Europe before coming to the United States to study art. She received her BFA from Syracuse University, College of Visual and Performing Arts.
Helen works are created primarily in gouache, opaque watercolor, and ink on board. Her work has been widely exhibited in galleries and museums in the United States, Europe and Lebanon. Her paintings are included in many private and public collections, including the White House, World Bank, Library of Congress, US Consulate General, Vancouver, Canada, American Embassy in Baghdad, Iraq, and the Arab American National Museum in Detroit, Michigan.
In 2008, Helen was invited as US Cultural Envoy through the State Department, to Palestine, where she led a workshop with Palestinian women artists In Ramallah. In 2009, she was sent to Switzerland under the State Department’s Speaker and Specialist Program. Her paintings have been presented to heads of state by President Obama and former Secretary of State Hilary Clinton.
Helen was featured in a one person exhibition at the University of Maryland University College, Adelphi, MD in 2015; and her works for “The Map is NOT the Territory” were featured in P21 Gallery, London during June, 2015.
Navigation Press is honored to host Helen Zughaib as part of the “Al-Mutanabbi Street Starts Here DC” 2016 project, hosted by George Mason School of Art, Fenwick and Provisions Library, in partnership with McLean Project for the Arts, Smithsonian Libraries, CulturalDC, Smith Center for Healing and the Arts, Georgetown University, Corcoran/GW University, Brentwood Art Association, Busboys and Poets and Split This Rock. This collaborative project commemorates Baghdad’s historic book selling street, destroyed in 2007, celebrating the free exchange of ideas and knowledge and standing in solidarity with the people of Iraq and everywhere that free expression is threatened. It is a literary, visual arts and cultural festival planned for January through March 2016, that features exhibitions and public events in Washington DC, Virginia and Maryland. Helen Zughaib initiates the project with one of her wonderful images titled “Stories My Father Told Me” that record the daily life in Lebanon and Syria.
For more details please see:
‘Stories My Father Told Me’
Helen Zughaib celebrated an exhibition at the Arab American National Museum, Deraborn, Michigan, April 2015. Working in gouache, opaque water color, Zughaib’s characters are lively, painted in cheerful d’après Matisse style in kaleidoscope of pastel colors.
As an Arab American, Helen feels that her background in the Middle East allows her to approach the experiences she has in America in a unique way, remaining an observer of both the Arab and American cultures. She believes that the arts are one of the most important ways to help shape and foster dialogue and positive ideas about the Middle East.
Navigation Press Membership
Navigation Press Members enjoy:
*Private time with the resident artist of the year
*Owning a valuable print by a contemporary master artist
*Social events with other “Friends”
*Enjoying a lecture by the resident artist
*The recognition and rewards of supporting a major contemporary art printmaking program
To join Navigation Press, please fill out this Membership Form, select Print Master ($1200-$2499), and return to:
Friends of Art
George Mason University
4400 University Drive, MS 4C1
Fairfax, Virginia 22030
2014 Visiting Artist
In his seventh solo exhibition at the Bruno David Gallery, Carmon Colangelo has produced two bodies of work, Storms and Post Storms, a turbulent pair of exhibits that explores environmental instability, urban growth and the idea solastalgia – the distressing sense of powerlessness people feel when the landscape they’ve known is transformed by environmental change.
Hanging in the main gallery, Storms is series of eight large prints where Colangelo has used traditional printing techniques, found objects and computer graphics to concentrate on hurricane patterns, marrying storms with male and female names in a print cycle that is by turns deeply textured and cleanly minimalist.
In Jose & Joyce, for instance, Colangelo has used Photoshop to manipulate the print’s roiling foundational layer, a colorful mid-century map that’s been stretched nearly beyond recognition. Atop this churning base layer he has then used a traditional technique known a chine-collé, bonding a sheet of translucent rice paper over portions of the work’s unstable base. It is a marriage of the old and new, one that partially obscures while also adding depth of color.
Colangelo created the series during a residency at Flying Horse Editions in Florida, a state that’s not only seen its share of natural disasters, but also (like just about everywhere else these days) is rich in pre-fab architecture. With this in mind, the artist printed another layer from the discarded laser-cut plates for architectural models, referencing both the increasing uniformity that is pre-fab architecture, as well as the violent dislocation that occurs during natural disasters.
The visual dynamism of Jose & Joyce is counterbalanced by Floyd & Fifi, a minimalist work that uses the same visual vocabulary of maps, chine-collé and architectonic forms. Only here that language is radically pared down. Colangelo uses bright, primary colors in the tradition of Ellsworth Kelly to print the architectural forms against a white background. Some contain bursts of color in the form of maps, but many are simply bright outlines from the laser-cut forms. It’s as though these bits of our urban landscape have been violently uprooted and have now come to rest out of context.
In the front room hangs Post Storms, which consists of nine gridlike works of airmail “envelopes.” (Aimed at the young collector, each grid consists of fifteen “envelopes” that are available for individual sale.) Taking the notion of environmental change as its jumping-off point, the series of small works on paper is something of a graphic Wunderkammer from Colangelo’s studio. It’s rife with images of ships at sea, sketches from his artist’s notebooks, storms and maquettes. But the series quickly transforms as Colangelo introduces references to artists like Jean Dubuffet and Piet Mondrian, before shifting once more to purely graphic illustrations and references to our modern shorthand of LOLs and OMGs.
Individually, each of these works act as a sort of artist’s exercise. Seen as a whole, however, both shows present the artist using a deliberately limited vocabulary to explore near infinite possibilities.