Minneapolis, MN – Highpoint Center for Printmaking is pleased to announce the 2025-26 Full Color Printmaking Fellows: Essence Enwere and Suriya SamKhuth. This yearlong fellowship will provide the artists with access to Highpoint’s cooperative print studio, learning opportunities through Highpoint classes and individual instruction, professional development and mentorship, a monetary award, exhibition opportunities, and more.

Suriya SamKhuth (she/her) situates her practice within a lineage of artists who follow, trace, and rewrite the presence of transness into history. She bridges the languages of screenprinting, photography, and collage to form paper assemblages that hope to keep record and keep safe trans/queer memory and the knowledge they carry. Processes of listening to, writing on, unfolding, and reshaping fragments serve as gestures toward reflecting through ideas of origin, archives, ancestry, and transformation.

Suriya is grateful to have participated in residencies and fellowships at the Emerging Curators Institute, Minnesota Center for Book Arts, Chautauqua School of Art, and Public Functionary’s Studio 400 Incubator program. Most recently, Suriya completed a Thomas J. Watson Fellowship where she immersed herself within the practices of transgender artists, collectives, and archives in the United Kingdom, Brazil, Argentina, the Netherlands, Cambodia, and Thailand.

Suriya said: “As a Full Color Fellow, I want to challenge myself to create a series of large-scale collages inspired by newfound printmaking techniques and my exchanges with trans women across languages, geographies, and generations. I also hope to continue screen-printing my original photographs and designs on clothing and textiles.”

Essence Enwere (they/them) is a Black and queer interdisciplinary artist living and working on occupied Očeti Šakówin and Wahpekute land, now known as Minneapolis, MN. They received their BFA from the University of Minnesota in 2024. Enwere’s work fuses design and type with artist publications and printmaking to tell stories of Black history, genealogy, and ecology. Their practice seeks to honor ancestry while reimagining connections between identity, land, and memory. Their work and practice have been featured in Artdose Magazine, The Minnesota Star Tribune, MPLSArt, KARE 11, and MSPMAG. Many of their artworks are held in collections nationally including the National Gallery of Art Library, Minnesota Historical Society, University of Minnesota , and Bainbridge Island Museum of Art.

Essence said: “I have plans to make many new artist books as well as large scale prints. I’ve made small intimate artist books, which I will continue to do. But what does it look like in my practice to make large scale prints, and more complicated books, to take up space in new ways?”

About the panelists

Jasper Duberry has held a passion for art since he was child. In school he would render his favorite cartoons in hand drawn coloring sheets that he would supply for his classmates. Later, as an undergraduate student at Viterbo University in La Crosse Wisconsin he discovered the printmaking tradition of woodcut relief printing. The meditative process resonated with Duberry and allowed him to explore the relevant themes behind his work. At Viterbo, Duberry focused on art education and continues this by doing various volunteer events, artists talks and workshops with students in hopes of passing on education and exposure to printmaking as well. In 2022, Duberry was a Full Color Print Fellow at Highpoint Center for Printmaking in Minneapolis. The experience provided access to state-of-the-art facilities and a community of artists that could provide technical and conceptual support for his creative process and blossoming career as a printmaker. Upon completion of the fellowship, Duberry joined Highpoint as co-op member and is an active participant in the printmaking community.

Anda Tanaka is a Minnesota-based artist and educator working primarily in printmaking and drawing. She has exhibited nationally, most recently with a solo show at the Schaefer Art Gallery at Gustavus Adolphus College. Anda holds a BA in music and studio art from St. Olaf College, an MFA from Minneapolis College of Art and Design, and has completed a two-year Printing Apprenticeship with Highpoint Editions at Highpoint Center for Printmaking. She is currently a Visiting Assistant Professor of Drawing and Printmaking at St. Olaf College. When not in the studio, you can find Anda outside cycling, running, cross country skiing, open water swimming, or walking her cats, Triskit and Millie.

Highpoint would like to thank Jasper and Anda for their careful, thoughtful evaluation of the submitted applications.

The Full Color Print Fellowship Program at Highpoint was developed with a steering committee in 2019 to eliminate barriers to printmaking studio access for Minnesota artists from racial and ethnic communities that have been underrepresented within the cooperative printshop. 

Threshold Gallery

On view: July 2 - September 30, 2026

Created through relief printmaking in woodcut and linocut, this exhibition explores the universal journey of finding one’s way home. The crow serves as both guide and mirror, reflecting the human search for belonging, purpose, and self-understanding. Otero sees home not as a place, but as a return to one’s essence—a continual journey of remembering who we are beneath the distractions of modern life. Like all creatures, we carry within us a deep and enduring pull toward the natural world, a force that continually guides us back to ourselves.

Exhibition on view: July 31 - September 12, 2026

Opening Reception: Friday, July 31, 6:30 - 9pm

remarks will begin at approximately 7:15pm

Please join HIghpoint in celebrating the 2025–2026 Jerome Early Career Printmakers during their culminating exhibition and congratulating them on their artistic accomplishments. In the exhbition which opens on July 31, Gabi Estrada, Dalton Carlson, and Edson Rosas will present an engaging collection of prints, objects, and assembled environments created during their year-long Residency funded with support from the Jerome Foundation.

Edson Rosas' residency project, which he describes as “a love letter to printmaking”, explores his family's history with immigration law and the ways those experiences have shaped his life and artistic practice. He says “My art was already touching on the impact of family separations, and with the recent events in Minnesota, I needed to pause and rethink my work. The art evolved, expressing my feelings and those of others, resulting in distinct moods across the work”.

Processing through screenprinting, lithography, relief, intaglio, and installation, Rosas examines themes of family separation, belonging, and community care. Developed during a period of significant tumult and reflection, the work traces a range of emotional registers while inviting conversation about immigration, resilience, and collective support.

Through reduction relief prints, papel picado (paper perforation), and installation, Gabi Estrada investigates the connections between food and printmaking as acts of labor, care, and cultural preservation. Considering food as a vehicle for memory, community, and cultural continuity, Estrada's work explores how the preparation and sharing of both food and prints can foster connection. They add “I have been thinking about how food, beyond being solely sustenance for our physical survival, sustains our histories, communities, and spirits. How food is a binder that brings people together, an avenue for cultural endurance, or a portal that transports us back to another time and place, blurring timelines together and reconnecting us with loved ones.” They underscore the labor that is inherent in both making food and creating prints and how each artform can result in offerings that can be shared.” While food is momentary, Gabi has been investigating the ability of print to “preserve”. Gabi hopes that their work evokes from viewers feelings similar to those experienced when sitting down for a meal with loved ones.

Dalton Carlson's prints celebrate the skill, labor, and artistry of workers in the food industry by recontextualizing these individuals within the art-historical canon. Through portraiture inspired by historical painting traditions, Carlson draws attention to workers whose expertise and contributions often go unrecognized. As the artist explains, "These people are often looked over and not thought about within society, so I wanted to create work to focus on their abilities."

Using complex multi-plate intaglio techniques, Carlson's printmaking process mirrors the precision, dedication, and craftsmanship required in these professions. The exhibition also features large-scale prints made directly from the tools of this labor: well-worn, retired cutting boards. These works transform the physical traces of use into abstract images that reveal and record the repetitive gestures, strength, and skill embedded within everyday work.

ABOUT THE ARTISTS

Edson Rosas (he/they) is a queer Mexican-American artist and educator based in Minneapolis, Minnesota. He is a printmaker, installation artist, soft sculpture maker, and casual writer. His autobiographical work is focused on exploring his Mexican roots through memory and how they play a role in his everyday life emotionally, physically, and politically. The work is often honest and open, making the personal become universal. 
Edson received his MFA in 2021 from Pacific Northwest College of Art and his BFA in 2019 from Minnesota State University, Mankato.

Dalton Carlson (he/him) is an interdisciplinary artist and educator working in Minneapolis, Minnesota. Carlson received his Master of Fine Arts in Studio Art from the State University of New York at Buffalo in 2024 and his Bachelor of Fine Arts in Studio Art from Colorado Mesa University in 2020. His work analyzes his role and how he interacts within larger societal systems. His work flows between 2D and 3D practices, often finding refuge in painting and printmaking. Carlson has recently shown in group shows in Buffalo, NY with shows at El Museo Gallery and CEPA Gallery and in Colorado at Mesa County Libraries and 437CO. He has presented solo exhibitions at the Triangle Gallery in Colorado, Western New York Book Arts Center in New York, and Fried Fruit Art Space in North Carolina. 

Gabi Estrada (they/them) is a Mexican-American printmaker and arts educator based in Minneapolis. Their practice is rooted in identity and storytelling, honoring their ancestors and elders. They believe in the power that art has to facilitate healing and community building, which they prioritize in their art and pedagogy.

Special thanks to the panelists for the 2025-2026 Jerome Early career Printmakers Residency Isa Gagarin and Emily Marsolek! Thanks also to Leslie Ureña, Jenny Schmid and once again Isa Gagarin and Emily Marsolek for joining the residents for critiques.

Finally, thank you to the Jerome Foundation for their continued support of this important program for early career artists!

About Sampler Sessions:
Sampler Sessions are introductory, hands-on workshops for those interested in exploring the basics of printmaking and have no prerequisites. Workshops begin with a demonstration with most of the class period used for exploring the print process learned.

All materials included with class fee- just bring yourself, your ideas, and creativity!

REGISTRATION DETAILS
Registration and payment may be completed through this website. You will receive an introductory email the week of your workshop from your instructor. 

WORKSHOP TRANSFERS, CANCELLATIONS, & REFUNDS

Our workshops are intentionally small to ensure each participant receives personalized instruction and access to Highpoint's studios and equipment. Because we commit to our teaching artists and prepare materials in advance, cancellations can have a significant impact on our ability to run a workshop.

If you need to make a change to your registration, please contact Jo Johannsen at jo@highpointprintmaking.org or call 612-278-4162.

TRANSFERS

If you're no longer able to attend, we encourage you to transfer your registration whenever possible.

• Transfer to another workshop: You may transfer your registration to another Highpoint workshop up to 7 days before your workshop, subject to availability. If the new workshop has a different tuition rate, you will be responsible for paying the difference or will receive a refund for the difference, if applicable.

• Transfer to another person: If you're unable to attend, you may transfer your registration to a friend or family member at any time at no additional charge. Please email Jo with the new participant's name and email address before the workshop begins.

CANCELLATIONS & REFUNDS

• 7 or more days before your workshop: Receive a full refund of your tuition and materials fees, less a $25 processing fee.

• Less than 7 days before your workshop: Refunds are not available. However, you may transfer your registration to another person as described above.

The $25 processing fee is waived if Highpoint cancels the workshop.

WORKSHOP CANCELLATIONS BY HIGHPOINT

Occasionally, a workshop may need to be canceled due to insufficient enrollment, instructor illness, or inclement weather. If Highpoint cancels a workshop, you will receive a full refund, including all tuition, materials fees, and any processing fees.

Thank you for your understanding and support. These policies help us continue offering high-quality workshops while supporting our teaching artists and maintaining our small class sizes.

DISCOUNTS AND SCHOLARSHIPS
A 10% discount is available for Highpoint Members.

FULL COLOR PRINT SCHOLARSHIP

A limited number of full tuition scholarships are available through the Full Color Print Scholarship, which provides free classes to individuals who identify as Black, Indigenous, and People of Color. Request a scholarship for this class by clicking the button below, or call, email or visit Highpoint. See our Discounts and Scholarships page for more details.

Exhibition on view: SEPTEmber 25 - November 14, 2026

Opening Reception: Friday, september 25; 6:30 - 9pm

panel discussion: saturday, september 26; 1 - 2pm

This special exhibition presents the complete print portfolio, and an opportunity to experience all 30 works together for the first time in the Midwest. The publication consists of six thematic portfolios—one of which was published by Highpoint Editions in Minneapolis. The complete project brings together the full scope of artist William Villalongo and urbanist Shraddha Ramani's collaborative reimagining of W.E.B. Du Bois's groundbreaking data visualizations. Seeing the portfolio together highlights the entirety of the project and the connections between its themes, offering a comprehensive portrait of Black life in the 21st century.

In 1900, W.E.B. Du Bois organized a series of infographics on the progress of Black peoples after Emancipation to be displayed as part of the American Negro Exhibit in the 1900 Paris Exposition world's fair. Using the still-developing field of data visualization, the American Negro Exhibit worked to upend the conceit of Western superiority and inevitable "progress" of industrialization by rendering in stark relief the dynamic participation of Black peoples in American social and economic life, and their global participation in science, literature, and art.

In Printing Black America, artist William Villalongo and urbanist Shraddha Ramani update and reimagine Du Bois's infographics. Printing Black America: Du Bois's Data Portraits in the 21st Century is a fine art print portfolio based on the project of Du Bois and his team for the contemporary moment. Villalongo and Ramani create new images, or "data portraits," using a range of printmaking techniques, current data, and living projects by Black scholars, social scientists, and activists. This project uses the original data portraits created for the American Negro Exhibit as a springboard for the critical possibilities found at the intersection of art and social science to render portraits of Black life in the 21st century.

To realize the project, Villalongo and Ramani collaborated with printmaking studios across the United States and their communities, with each studio producing one thematic portfolio. Printmaking partners include USF Graphicstudio (Tampa, FL), Powerhouse Arts (Brooklyn, NY), Island Press at Washington University (St. Louis, MO), Highpoint Editions (Minneapolis, MN), Paulson Fontaine Press (Berkeley, CA), and Mullowney Printing Company (Portland, OR). Bringing all six portfolios together offers visitors a unique opportunity to experience the full breadth of the project and the collective work of the artists, scholars, activists, and print studios who made it possible.

About the Artists:

William Villalongo was born in 1975. He lives and works in Brooklyn, NY. He received his BFA from The Cooper Union School of Art, MFA from Tyler School of Art at Temple University and attended Skowhegan School of Painting & Sculpture. His figurative paintings, works on paper and sculpture are concerned with representing the Black subject against notions of race and exploring metaphors of mythology and liberation. His curatorial projects – American Beauty at Susan Inglett Gallery in 2013 and Black Pulp! touring nationally between 2016-2018 – explore the intersections of politics, history and art. Villalongo is the recipient of the prestigious Louis Comfort Tiffany Award and the Joan Mitchell Foundation Painters & Sculptor's Grant, and was the 2022 Jules Guerin & Harold M. English Rome Prize Fellow in Visual Art. His work is included in several notable collections including the Studio Museum in Harlem, The Whitney Museum of American Art and Princeton University Art Museum and El Museo del Barrio. His work has been reviewed in Art in America, The New Yorker and the New York Times. The artist is represented by Susan Inglett Gallery, New York and is an Associate Professor at The Cooper Union School of Art.

Shraddha Ramani is an urbanist and researcher based in Brooklyn, NY. She uses data visualization and mapmaking as tools to make cities more resilient and equitable. Her work is centered around democratizing data to better equip communities to make informed decisions about their futures. She worked in multiple capacities in the Geographic Information Systems (GIS) department at New York City Emergency Management, finishing as the Director of the GIS Data Center. In this role she directed a team to make data-driven decisions for emergency planning, response, recovery, and mitigation. In earlier roles she developed online applications to help the public visualize and understand natural hazard risks in their communities. Previously, she worked on the development of the Future City Lab exhibition at the Museum of the City of New York. Shraddha Ramani is from Bangalore, India and her work is heavily informed by her own immigrant experience. She has participated in planning projects in India and Brazil and was a Peace Corps volunteer in Ecuador. She has a Master's degree in Urban Planning from Columbia University, and a BA in Environmental Studies from Oberlin College.

PANEL DISCUSSION: Saturday, September 26 from 1-2 PM

Join artist William Villalongo and urbanist Shraddha Ramani along with multidisciplinary mixed-media artist and archivist Ego Ahaiwe Sowinski in our gallery to reflect on the ideas, research, collaborations, and creative processes that shaped the work.

Ego Ahaiwe Sowinski is an artist, archivist, and researcher whose practice explores the intersections of self-archiving, curatorial practice, and artistic production. Her relationship to surface design and screen printing is embedded within an ongoing collaborative practice with printmaker Aida Wilde, through which archival research, feminist organising, graphic language, and social commentary are brought together.

Their collaborations include Empowered Printwork, developed through the Women’s Art Library at Goldsmiths, which brought historic feminist posters into dialogue with newly produced screenprints and led to the Sisters in Print finding aid and postcard; DARK ENERGY: Feminist Organizing, Working Collectively (2019); 20/20: A Brief Survey (2021); and INVENTORY: Performing the Archive (2025). Their shared practice demonstrates how screen printing can operate not only as a medium of visual production, but as a way of activating archives, circulating ideas, and building collective histories.

Sowinski has also contributed research on the archival legacy of See Red Women’s Workshop, further connecting feminist print culture, collective organising, and archival practice. Her collaborative print practice includes Notes from a Phantom, a screen-printed response developed with Wilde during the COVID-19 pandemic, and the limited-edition screenprint produced with Wilde for Remember to Exhale, a sound and meditation work created with Ain Bailey as part of Desperate Living C—19, commissioned by Studio Voltaire.

Sowinski is also an award-winning curator and writer. In 2025, she received both Association for Art History Curatorial Prizes for Ronald Moody: Sculpting Life (Thames & Hudson, 2024), developed from her doctoral research. Her research, writing, and photography have appeared in Feminist Review, British Art Studies, Tate Etc., Matériaux pour l’histoire de notre temps, Hyperallergic, and MN Artists.

In this course, participants will learn traditional techniques in stone lithography. Students will draw directly onto a prepared stone surface, etch, print, and edition their own lithographs using a leather roller and black ink. Participants will learn about the history of lithography, stone and ink properties, fine art paper selection and preparation, leather roller care, and how to operate a direct lithographic press. Proper paper handling and editioning practices will be demonstrated, as well as proper chemistry handling.

Each student will complete a small edition of their own work by the end of the course.

REGISTRATION DETAILS
Registration and payment may be completed through this website. You will receive an introductory email the week of your workshop from your instructor. 

WORKSHOP TRANSFERS, CANCELLATIONS, & REFUNDS

Our workshops are intentionally small to ensure each participant receives personalized instruction and access to Highpoint's studios and equipment. Because we commit to our teaching artists and prepare materials in advance, cancellations can have a significant impact on our ability to run a workshop.

If you need to make a change to your registration, please contact Jo Johannsen at jo@highpointprintmaking.org or call 612-278-4162.

TRANSFERS

If you're no longer able to attend, we encourage you to transfer your registration whenever possible.

• Transfer to another workshop: You may transfer your registration to another Highpoint workshop up to 7 days before your workshop, subject to availability. If the new workshop has a different tuition rate, you will be responsible for paying the difference or will receive a refund for the difference, if applicable.

• Transfer to another person: If you're unable to attend, you may transfer your registration to a friend or family member at any time at no additional charge. Please email Jo with the new participant's name and email address before the workshop begins.

CANCELLATIONS & REFUNDS

• 7 or more days before your workshop: Receive a full refund of your tuition and materials fees, less a $25 processing fee.

• Less than 7 days before your workshop: Refunds are not available. However, you may transfer your registration to another person as described above.

The $25 processing fee is waived if Highpoint cancels the workshop.

WORKSHOP CANCELLATIONS BY HIGHPOINT

Occasionally, a workshop may need to be canceled due to insufficient enrollment, instructor illness, or inclement weather. If Highpoint cancels a workshop, you will receive a full refund, including all tuition, materials fees, and any processing fees.

Thank you for your understanding and support. These policies help us continue offering high-quality workshops while supporting our teaching artists and maintaining our small class sizes.

DISCOUNTS AND SCHOLARSHIPS
A 10% discount is available for Highpoint Members.

FULL COLOR PRINT SCHOLARSHIP

A limited number of full tuition scholarships are available through the Full Color Print Scholarship, which provides free classes to individuals who identify as Black, Indigenous, and People of Color. Request a scholarship for this class by clicking the button below, or call, email or visit Highpoint. See our Discounts and Scholarships page for more details.

Meet the 2026 McKnight Fellows in Printmaking Lila Shull and Nancy Ariza! Lila and Nancy began their fellowship in February and have been feverishly working toward their exhibition that will open to the public on February 5, 2027. Please read on the learn more about the artists as well as this year’s review panelists.

Lila Shull (she/her) is a printmaker based in Minneapolis, Minnesota. Working in printmaking, painting, and drawing, her practice pays particular attention to the shift between objects and patterns related to memory. This work wrestles with the problems (and possibilities) that arise from unreliable personal narratives. 

Shull holds her MFA from the University of Tennessee-Knoxville and a BFA from Winthrop University in Rock Hill SC. She has been awarded residencies at In Cahoots, Arrowmont School of Crafts, and Eugeniusz Geppert Academy of Fine Arts in Wrocław, Poland. Her work has been shown nationally at the Foley and Unix Galleries in New York City, Coagula Curatorial in Los Angeles, CA, Mint Museum in Charlotte, NC, Devos Art Museum in Marquette, MI, Janet Turner Print Museum at California State University in Chico, CA and at Boston University in Boston, Massachusetts. Lila is the Marketing & Proposal Coordinator for a native-owned general contractor, Woodstone Inc.

Nancy Ariza (she/her) is a Mexican American visual artist and educator. Drawing from her Mexican heritage, Ariza’s artistic practice explores the themes of cultural preservation and memory, familial ties, and storytelling, expressed through a combination of traditional and alternative printmaking processes, natural pigments, and textiles. 

Ariza has exhibited across the United States at Hecho a Mano, Santa Fe, NM; Mission Cultural Center for Latino Arts in San Francisco, CA; Janet Turner Print Museum at California State University in Chico, CA; Prospectus Gallery in Chicago, IL; among others. She has received awards from Center for Craft, McKnight Foundation, Jerome Foundation, and Forecast Public Art. Her work can be found in the collections of the Museum of Fine Arts in Boston, MA and National Museum of Mexican Art in Chicago, IL.
Ariza holds an MA in Education and Graduate Certificate in Culturally Responsive Teaching from Saint Mary’s University of Minnesota, as well as a BFA in Printmaking and BA in Art History from Minnesota State University, Mankato.

About the Review Panelists:

Jazmine Catasús is Artistic Director and one of the Master Printers of the Robert Blackburn Printmaking Workshop (RBPMW) at the Elizabeth Foundation for the Arts (EFA). She has been involved with EFA RBPMW since 2013. Catasús works with community members and the public within the printshop facilities and the archive. She has collaborated on printmaking projects with artists such as Lizanina Cruz, Kameelah Janan Rasheed, and Dindga McCannon. Catasús has led printmaking workshops at several institutions, including the Center for Contemporary Printmaking (Norwalk, CT), Print Center New York, The Metropolitan Museum of Art, and The Museum of Modern Art (MoMA) in New York. She is also a Visiting Assistant Professor at Pratt Institute.

Sean Caulfield was named a Canada Research Chair in Fine Arts (Tier 2) from 2001 – 2011, Centennial Professor from 2011 – 2021, and is currently a Professor in the Department of Art and Design at the University of Alberta, living and working in Treaty Six territory, Amiskwaciy Waskahikan, Edmonton, Alberta, Canada. He has exhibited his prints, drawings, installations and artist’s books extensively throughout Canada, the United States, Europe, and Japan. Recent exhibitions include: Found Anatomies, Peter Robertson Gallery, Edmonton, Alberta, Canada (2022); The Flood, Art Gallery of Alberta, Edmonton, Alberta, Canada (2016); The Body in Question(s), UQAM Gallery, Montreal, Quebec, Canada (2012); Perceptions of Promise, Chelsea Art Museum, New York, USA/Glenbow Museum, Calgary, Alberta (2011).

Caulfield has received numerous grants and awards for his work including: The Special Award of the Rector of the Academy of Fine Arts in Warsaw, Krakow Triennial, 2015; SSHRC Dissemination Grant: Canadian Stem Cell Network Impact Grant; SSHRC Fine Arts Creation Grant; Canada Council Travel Grant; and a Visual Arts Fellowship, Illinois Arts Council, Illinois, USA. Caulfield’s work is in various public and private collections including: Houghton Library, Harvard University, USA; Fitzwilliam Museum, Cambridge, England; Blanton Museum of Art, University of Texas, Austin, Texas, USA. In 2017 Caulfield was elected to the Arts Division of the Academy of the Arts and Humanities of the Royal Society of Canada.

The McKnight Printmaking Fellowships are open Minnesota artist/printmakers who are at a career stage that is “beyond emerging” — defined here as artists who demonstrate a sustained level of accomplishment, commitment, and artistic excellence. Fellows are selected on the basis of the artistic merit of their work, and their dedication, interest, and contributions to Minnesota’s arts ecosystem.