Quadrants
25 Years of Highpoint Editions
2026
4 prints and colophon in portfolio case consisting of archival rigid base with flap envelope closure
Edition of 25
Prints: 18 x 24 inches unframed
Portfolio: 18 ½ x 24 ½ x ¼ inches
$9,000
Highpoint Editions is proud to release Quadrants - 25 Years of Highpoint Editions.
Quadrants brings together the work of four extraordinary Highpoint Editions artists — Julie Buffalohead, Rico Gatson, Delita Martin, and Carolyn Swiszcz — in a portfolio created to honor 25 years of artistic excellence, collaboration, and community at Highpoint Center for Printmaking.
The portfolio is a chance to support Highpoint in a big way as all the artists have generously chosen to invest in the future of Highpoint Editions by giving 100% of proceeds from the sale of these works back to the program. Their generosity is an extraordinary expression of belief in the collaborative process of printmaking and in the artists, printers, and community it makes possible.
A fourth is a fraction of a whole, but also a measurement of time. For the last quarter of a century, Highpoint has brought artists into this space to test ideas, share knowledge, take risks, and produce new, collaborative works of art.
From 2001 to 2026, Highpoint’s work has grown through a constellation of interconnected programs: education, publishing, co-op and artist programs, and exhibitions. Each offers a different point of entry into the organization’s mission, while each is strengthened by its relationship to the others. These quadrants do not divide the fi eld—they create the fi eld.
A quadrant describes fourths of a plane, connected by an axis. These planes are not separate, rather they come together to form a whole with a meeting place at their center. This is the act of collaborative printmaking: a meeting point, between the technical expertise of the printer and the vision of the artist.
This portfolio gathers four artists whose work has been part of the shared fi eld. Their four prints become four points on a compass, each distinct, each in conversation with the others. Together they offer not a retrospective, but a cross-section—a quarter-century of artistic work held in four parts
JULIE BUFFALOHEAD
Be Authentic
2026 | Edition of 25 | Lithograph on Somerset Satin White paper | 18 x 24 inches
In Be Authentic, I create tension between sincerity, performance, and commodified identity through the use of coffee mugs. Ermine move chaotically around a precarious tower of mugs, suggesting a world on the verge of collapse. A Plains tribes’ inspired abstract design in the manner of a traditional ribbon work pattern occupies the background, establishing a mythic space. The ubiquitous coffee mug becomes a vehicle for examining contemporary forms of fake-ness, hypocrisy, and darker human behaviors, as if one could walk into a store and pick out the flavor. Through this absurd and unstable tableau, the work critiques contemporary American culture and politics, as well as the systems of posturing and authenticity that permeate the art world.
Julie Buffalohead (b. 1972, enrolled Ponca Tribe of Oklahoma) is a visual artist living and working in St. Paul, Minnesota. She has received the Trellis Art Fund Milestone Grant, the Pollock-Krasner Foundation Grant, and the John Simon Guggenheim Fellowship. She has held notable public solo museum exhibitions at the Nerman Museum of Contemporary Art, the Minneapolis Institute of Art, the Denver Art Museum, the Museum of Contemporary Native Arts in Sante Fe, and the Smithsonian National Museum of the American Indian in New York City. Buffalohead’s work has been included in many group exhibitions, nationally and regionally. She exhibits her work with Jessica Silverman Gallery.
DELITA MARTIN
Daughter of Ebon: She Listens for the Ancestors
2026 | Edition of 25 | Screenprint and lithograph on Somerset Satin White paper | 24 x 18 inches
Daughter of Ebon: She Listens for the Ancestors portrays a young girl from Ebon, the mythic island at the center of my ongoing Songkeepers series. The women and girls of Ebon descend from the Flying Africans; although they have lost the ability to fly, they retain an ancestral connection to birds, trees, and the natural world. Visually shifting between concealment and revelation, the young fi gure is both seen and unseen, carrying memory, protection, and possibility within her. In celebration of Highpoint’s 25th anniversary, Daughter of Ebon: She Listens for the Ancestors honors printmaking as a space where stories, traditions, and knowledge are carried forward.
Delita Martin (b. 1972, Conroe, Texas) is a multidisciplinary artist and master printmaker based in Huffman, Texas. She received a BFA in Drawing from Texas Southern University and an MFA in Printmaking from Purdue University. Her work has been exhibited nationally and internationally, including a solo exhibition at the National Museum of Women in the Arts and the international group exhibition Personal Structures in Venice, Italy. Her work is held in the collections of the Metropolitan Museum of Art, Crystal Bridges Museum of American Art, Minneapolis Institute of Art, and National Museum of Women in the Arts.
RICO GATSON
Untitled (Black Orbits)
2026 | Edition of 25 | Screenprint on Somerset Satin White paper | 24 x 18 inches
This print, Untitled (Black Orbits), began with paintings made on clear films, combining organic applications of paint to create a dynamic, fluid field of color, texture, and movement. A final layer introduces a constellation of black circles, appearing as holes, portals, or voids, arranged intuitively across the composition. Together, the layers create a sense of depth and visual tension, suggesting a space that is both material and cosmic.
Rico Gatson (b. 1966, Augusta, GA) is a Brooklyn-based multimedia visual artist. His work has been exhibited nationally and internationally, including exhibitions at Contemporary Art Museum at The University of South Florida, The Studio Museum in Harlem, NY; The Whitney Museum of American Art, NY; The Essl Museum, Austria, Vienna and The Smithsonian American Art Museum in Washington, DC. His work is held in numerous private and permanent collections including The Smithsonian American Art Museum, National Museum of African American History and Culture, The Studio Museum in Harlem, The Denver Art Museum, The Cheekwood Museum, The Kempner Museum, and The Yale University Art Museum, amongst many others.
CAROLYN SWISZCZ
The Goal
2026 | Edition of 25 | Lithograph on Somerset Satin White paper |18 × 24 inches
In addition to prints and paintings I also make zines. My contribution to this portfolio, The Goal combines elements of my printmaking and painting practice within a deconstructed zine narrative. Rubber stamps were my first experience with printmaking - I revisit them here because I find freedom in working with the basic restraints that this material demands. I delight in the detours printmaking provides through exploration and chance to translate my thoughts into images. In my approach to this project I aimed for the same elusive mixture of planning and surprise that the print itself describes.
Carolyn Swiszcz (b. 1972, New Bedford, MA) lives and works in West St. Paul, MN and earned a BFA in Printmaking at the Minneapolis College of Art and Design. Swiszcz’s work has been exhibited at the Minneapolis Institute of Arts, The Drawing Center, Highpoint Center for Printmaking, Miyako Yoshinaga Gallery in New York, Steven Zevitas Gallery in Boston, and The Corcoran Gallery of Art. She is a recipient of the Jerome, McKnight, Minnesota State Arts Board, and Bush artist fellowships.
ACKNOWLEDGEMENTS
Highpoint Editions is made possible through the vision, generosity, and shared commitment of many hands.
We extend our deepest gratitude to Delita Martin, Rico Gatson, Julie Buffalohead, and Carolyn Swiszcz, the artists featured in this portfolio, who have generously chosen to invest in the future of Highpoint Editions by giving 100% of proceeds from the sale of these works back to the program. Their generosity is an extraordinary expression of belief in the collaborative process of printmaking and in the artists, printers, and community it makes possible.
We are grateful to the collaborating printers—Zac Adams-Bliss, Judith Baumann, and Niall Bingham—whose skill, curiosity, patience, and persistence bring artists’ ideas into form. Each edition is a conversation—between artist and printer, material and process, intention and discovery—and these works are the result of that exchange.
We also thank the staff and board of Highpoint Center for Printmaking, past and present, whose stewardship, care, and belief in the power of printmaking have sustained Highpoint Editions for 25 years. We honor the many artists, printers, students, volunteers, members, donors, and friends whose contributions have built the community that makes this work possible.
Finally, we offer our profound thanks to the collectors of this portfolio. By choosing to invest in these editions, you are doing more than bringing exceptional works of art into your collection. You are joining the featured artists in investing in the future of Highpoint Editions—for the next generation of artists and their ideas, in the craft and possibility of printmaking, and in the collaborative practice that has defi ned Highpoint for a quarter century.
Together, your generosity helps ensure that artists will continue to have a place to experiment, printers a place to practice and innovate, and a community a place to encounter the remarkable possibilities of print.