New Release - Declaration (for youth orchestra) by Raven Chacon

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Declaration (for youth orchestra)

Raven Chacon, 2026

Stone lithograph and chine collé

Edition of 25

Image: 25 x 36 inches

Paper: 30 ¼ x 41 ¼ inches

Starting at $4,900 unframed

(Price will increase every 5 impressions reserved or sold. Price subject to increase without notice.)

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Highpoint Editions is honored to present Declaration (for youth orchestra), a new print by artist and composer Raven Chacon. This new stone lithograph, inspired by a powerful orchestral composition intended to be performed by youth, examines the whistle’s historical association with policing and its shift towards an instrument of collective warning, resistance, and protection.

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Close up on the stone Chacon drew on to create Declaration (for youth orchestra)

Chacon drawing with a lithographic crayon on the stone surface

In 2025, Raven Chacon was commissioned by Arco Ensemble to compose an orchestral piece for the DC Youth Orchestra, a Washington, D.C.-based organization that provides ensemble-based classical music education to young people, many from communities historically underrepresented in classical music. Chacon’s composition features whistles, reimagining an instrument associated with policing as a tool for communities to warn and protect one another from abuses of authority. Performed collectively by young musicians of varied backgrounds, abilities, and vulnerabilities, the whistles become a means of amplifying young people’s voices and protecting their families and communities. Their collective sound serves as a declaration of resistance, care, and sovereignty.

Detail of Declaration (for youth orchestra)

The composition was scheduled to premiere at the Kennedy Center in August 2026. As the project developed, changes to the venue’s name prompted a shift in the score’s meaning and context. Rather than cancel the performance, Chacon intended to bring the work directly into the belly of the beast, with seventy young musicians blowing their longest breaths into police whistles, with interjections of warning blasts and moments of rest and regrouping. Ultimately, the concert did not take place as planned. The score, however, remains, and the students are ready.

Chacon working with Lead Printer in Residence Judith Baumann

Detail of Declaration (for youth orchestra)

Through the physicality of his mark-making, Chacon gives visual form to the score’s rhythmic qualities, allowing the movement of the artist’s hand to echo the collective force intended for the musicians themselves. Chacon’s visualization of the score was hand-drawn by the artist on a lithographic stone using a range of techniques, including lithographic crayon and concentrated tusche wash applied with a syringe, brush, and tjanting tool. His first foray into stone lithography, Declaration (for youth orchestra) captures the artist’s hand in every mark and gesture, translating the rhythms, movements, and flows of music into a visual language. More than a representation of the planned composition, the resulting image extends the score, and the gestures embedded in the lithographic process offer another way of experiencing the composition, even in its absence.

Chacon signing the prints in the Highpoint Editions Studio

Chacon cancelling the stone in the Highpoint Editions Studio

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For availability and to purchase Declaration (for youth orchestra), email our Gallery Director Alex Blaisdell alex@highpointprintmaking.org

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Photo by Neal Santos

Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and Swiss Institute Contemporary Art New York. As a member of Postcommodity from 2009-2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the 2-mile long land art installation Repellent Fence.

A recording artist over the span of 24 years, Chacon has appeared on more than eighty releases on various national and international labels. In 2022, he was awarded the Pulitzer Prize in Music for his composition Voiceless Mass. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from The LA Times, The New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America.

Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy’s Berlin Prize for Music Composition, the Bemis Center’s Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022), the Pew Fellow-in-Residence (2022), and is a 2023 MacArthur Fellow.

His solo artworks are in the collections of the Whitney Museum of American Art, the Smithsonian’s American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the University of New Mexico Art Museum, and various private collections.

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For availability and to purchase Declaration (for youth orchestra), email our Gallery Director Alex Blaisdell alex@highpointprintmaking.org

New Release - Quadrants 25 Years of Highpoint Editions Portfolio

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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

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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.

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 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. 

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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

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JULIE BUFFALOHEAD

Be Authentic

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2026 | Edition of 25 | Lithograph on Somerset Satin White paper | 18 x 24 inches

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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.

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DELITA MARTIN

Daughter of Ebon: She Listens for the Ancestors

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2026 | Edition of 25 | Screenprint and lithograph on Somerset Satin White paper | 24 x 18 inches

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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.

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RICO GATSON

Untitled (Black Orbits)

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2026 | Edition of 25 | Screenprint on Somerset Satin White paper | 24 x 18 inches

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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.

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CAROLYN SWISZCZ

The Goal

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2026 | Edition of 25 | Lithograph on Somerset Satin White paper |18 × 24 inches

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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. 

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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.

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For availability and to purchase Quadrants, email our Gallery Director Alex Blaisdell alex@highpointprintmaking.org

Adebunmi Gbadebo Works Acquired by the Block Museum of Art

Recently, the annual Collection Council at the Block Museum of Art at Northwestern University in Chicago acquired multiple works from Highpoint Editions Artist, Adebunmi Gbadebo! Working with materials such as soil and indigo, periwinkle, clay, and hair each work offers multiple points of entry into Gbadebo’s practice and create opportunities for teaching and research across various areas of study.

Adebunmi Gbadebo, Periwinkle 2026, Cyanotype, screenprint with handmade inks, lithograph, and collage, Edition of 20, 29 ½ x 44 ½ inches. ©Adebunmi Gbadebo.

Throughout the academic year, Council members participate in a collaborative process of learning, research, and discussion with artists and curators.  Working within the year’s theme of abstraction, the Council considered a shortlist of artists nominated by members and The Block’s curatorial team before reaching consensus on Gbadebo’s work titled Many Mornings Later and recommending it to the museum’s Acquisitions Committee, where it will join her recently released collaborative print, Periwinkle.

Learn more about the recent acquisitions and Gbadebo’s work here!

Raven Chacon: Voiceless Mass Performance

Highpoint Editions Artist, Raven Chacon’s Voiceless Mass, which awarded the artist a Pulitzer Prize in music in 2022, was performed collaboratively by ensemble vim and Bent Frequency in a recent show that took place at St. Luke’s Episcopal Church in Atlanta, Georgia. “Timing in at around 18 minutes, Chacon’s score calls for organ, flute, clarinet, bass clarinet, two percussionists, strings and sine tones, with the musicians positioned in various spots around the congregational space. The combination of extended tonal passages, deep chordal organ textures and unusual instrumental juxtaposition creates an elegant yet somber contemplative atmosphere. The Pulitzer jury called Voiceless Mass a “mesmerizing, original work … that evokes the weight of history in a church setting, a concentrated and powerful music expression with a haunting, visceral impact.”’

The combined forces of ensemble vim and Bent Frequency, October 12, 2026 at St. Luke’s Episcopal Church. (credit: Davida Cohen)

Learn more about the performance here and here!

Raven Chacon's Performances at the Park Avenue Armory

In a recent interview with Hyperallergic, Highpoint Editions Artist, Raven Chacon details his recent performances at the Park Avenue Armory, the freedom of improvisation, and the privilege of “deep listening.” Chacon’s score-based creations encourage collaboration among performers and audiences and incorporate found sounds, such as rifles, foghorns, whistles, and coins with natural elements.

Diné (Navajo) composer, performer, and visual artist Raven Chacon performs in the Veterans Room as part of Park Avenue Armory’s 2026 Artists Studio series on Wednesday, October 7. (all photos Da Ping Luo, courtesy Park Avenue Armory)

He presented two nights in the Veterans Room of fully improvised sets using a variety of acoustic, electric, and electronic instruments, some homemade. These improvised compositions ranged from sparse, minimalistic soundscapes to complex, multi-layered works that incorporated voices, noise, and found sounds.

Learn more from a recent interview here!

Raven Chacon Talk at the Frist Art Museum

The Frist Art Museum is hosting an evening with Pulitzer Prize–winning composer and multimedia Highpoint Editions Artist, Raven Chacon. In the museum’s auditorium, Raven will discuss his recent works, including pieces featured in An Indigenous Present, and explores how he uses scores and field recordings to convey narratives of place. Presented in partnership with the Indigenous Studies Seminar at Vanderbilt University’s Robert Penn Warren Center for the Humanities, this engaging program offers a deeper look at the intersection of sound, place, and storytelling in contemporary Indigenous art.

Raven Chacon, photographed by Bowen Aricò in Sydney, May 2025

This event will take place on Sep 10th 2026 from 6:30pm-7:30pm at the Frist Art Museum in Nashville, Tennessee.

Learn more about the upcoming event here!

Raven Chacon featured in Hyperallergic

Highpoint Editions Artist, Raven Chacon is featured in a HYPERALLERGIC article on required reading and listening! The article kicks off by tracking through the relevance and necessity of Chacon's work and discography, and mentioning some of the apparent roots and undertones that have emerged throughout his career and in his most recent album, Voiceless Mass.

Raven Chacon | Photo by: Neal Santos

Learn more here!

Raven Chacon in Hold to this Earth

Highpoint Editions Artist, Raven Chacon will be a part of an upcoming group exhibition titled, Hold to this Earth. This show will feature sixty-five works by thirty-eight artists, including two significant new commissions, making it a landmark exhibition of contemporary Indigenous North American art on a scale never seen before in the UK. Hold to this Earth features sculpture, film, photography, painting, ceramics and fibre art highlighting the broad spectrum of work being produced by Indigenous North American artists today.

Film still from Raven Chacon: Three Songs installation piece.

Representing over 35 different Tribal Nations and multiple generations, the exhibition highlights both established voices and emerging artists who are shaping contemporary art today. They reference and honour ancestral knowledge whilst being steadfastly contemporary, asserting a powerful presence and countering narratives of erasure that too often position Indigenous cultures only in terms of the past. Materials such as clay, hide, wool, beads and natural pigments become carriers of powerful stories, memory and tradition, rooted in connection to the earth. Newer modes of expression and understanding growing out of digital culture also speak to the shifting landscapes of Indigenous life in the 21st century.

On view June 13th, 2026  through Apr 18th, 2027 at the Yorkshire Sculpture Park in West Bretton, U.K Learn more here!

Mungo Thomson's Solo Exhibition at Colefax Gallery

Highpoint Editions Artist, Mungo Thomson has an upcoming solo exhibition titled, For Your Reference that will be held at the Colefax Gallery at the Santa Barbara Museum of art. The exhibition will be showing “three films containing images scanned from birdwatching field guides, history textbooks, and a handbook for mimes.” “These films playfully comment on the presumed authority of reference materials. Thomson asks: Can anyone really tell the entire history of the world in just one volume? Can humor be practiced and perfected through gesture alone? He reveals how these books flatten complex ideas such as nature and history.

Mungo Thomson, Volume 10. A Field Guide to Hummingbirds (still), 2024. Video installation with sound, 3 minutes, 13 seconds. SBMA, Purchase with funds provided by Kandy Budgor; Luria/Budgor Family Foundation. © Mungo Thomson.  Santa Barbara Museum of Art photo

The exhibition will be on view from May 17th, 2026 until October 26th, 2026

Learn more here.

Raven Chacon Solo Exhibition at Sikkema Jenkins

Raven Chacon, Storm Pattern, 2021/24. Handwoven woolen textile, sound. Textile: 70 x×128 ½ inches. Audio: Variable length, looped. Courtesy the artist and Sikkema Malloy Jenkins, New York.

Highpoint Editions Artist, Raven Chacon’s solo exhibition, Scores for Coming Storms is now on view until June 20th, 2026! This show is “a layered installation of sonic and visual works that encompasses both Euro-American and Navajo worldviews,” and “is made up of a large graphite wall drawing, framed ink drawings, a sound installation, and a wall textile. As a succinct reprise and recontextualization of earlier work, it allows gallery-goers to see and listen to the breadth of this artist’s multivalent vision.” Below is a brief walkthrough of the show from Art as Form Tours!

https://www.youtube.com/watch?v=mzlKY6L1w2o 

Installation view: Raven Chacon: Scores for Coming Storms, Sikkema Malloy Jenkins, New York, 2026. Courtesy the artist and Sikkema Malloy Jenkins, New York.

On view at Sikkema Malloy Jenkins, NY from May 14–June 20, 2026 Learn more here!

New Release - Periwinkle by Adebunmi Gbadebo

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Periwinkle

Adebunmi Gbadebo, 2026

Cyanotype, screenprint with handmade inks, lithograph, and collage

Edition of 20

29 ½ x 44 ½ inches

$4,800 unframed

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Highpoint Editions is honored to release Periwinkle, a new print by artist Adebunmi Gbadebo. This new print combining cyanotype, screenprint, and lithograph pushes the materiality of contemporary print by incorporating hand gathered soil and raw indigo to create an image where land, memory, and material speak together. 

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Periwinkle plants in the Highpoint Editions studio during Gbadebo’s visit

What began as a conceptually simple intention, to make a print of a flower, quickly unfolded into something far more layered, rigorous, and alive. When Adebunmi Gbadebo entered the Highpoint Editions studio in Minneapolis, the flower became a portal rather than a subject, a way to return to True Blue Plantation in Fort Motte, South Carolina, where her maternal lineage was enslaved and where the land itself still carries memory. The periwinkle, chosen for this work, is not ornamental. It is a witness. Thriving in acidic soil altered by decomposed bodies, it has long served as an informal grave marker, especially in forgotten or overgrown burial grounds of the enslaved. Descendant communities, anthropologists, or archaeologists frequently look for periwinkle as an indicator of human remains lost within the earth and at True Blue Cemetery, a seven acre site now largely reclaimed by woodland, these small blooms signal the presence of a hidden history.

Adebunmi Gbadebo in Highpoint Editions studio with fellow HPE Artist Leslie Barlow

Materials brought by Gbadebo to Highpoint including soil from True Blue Cemetery in Fort Motte, South Carolina

The print collapses three images of the cemetery into a single, compressed surface, mirroring the way history itself is layered, buried, and obscured. A cyanotype forms the foundation, while the middle and top layers are screenprinted using ink made from indigo and red clay gathered directly from True Blue Cemetery, embedding the physical site into the image itself. Between each layer, white silhouettes of flattened periwinkle plants are placed with intention, alternately revealing and concealing what lies beneath. 

Detail of Periwinkle

 A single lithograph of a periwinkle bloom is collaged on top, camouflaged within the landscape, echoing how periwinkle operates in the wild: quiet, persistent, easy to miss, and impossible to ignore once seen. In this work, periwinkle becomes both material and metaphor, a delicate visual language through which absence is made visible and land becomes a marker of lives lived and lost.

The making of the print mirrored the depth of its meaning. Pushing materiality further than ever before was not just a challenge but a necessity, and one of the many reasons Highpoint was drawn to working with Gbadebo. To screenprint with soil, Highpoint sourced an industrial spice grinder to mill the red clay finely enough to pass through the mesh of a screen, only to discover a second, unexpected hurdle. Left untreated, the soil began to grow organic material. Baking it became essential, a lesson learned through experimentation rather than instruction. That trial and error process, full of surprises, setbacks, and discoveries, became part of the work’s DNA. The result is a print that feels as intentional as it is elemental, carrying the physical, historical, and emotional weight of the site it comes from. Periwinkle exemplifies a work where land, memory, and material speak together.

Gbadebo signing the prints in the Highpoint Editions studio - March 2026

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Adebunmi Gbadebo (Ah-dae-bu-mee Bha-dae-bo) lives and works in Philadelphia, Pennsylvania. Gbadebo earned a BFA at the School of Visual Arts, New York, and a certification in Creative Place Keeping at the New Jersey Institute of Technology. She was an Artist in Residence at the Clay Studio in Philadelphia (2021-2025) and has also been a Maxwell and Hanrahan Fellow (2023) and a Pew Fellow (2022). Gbadebo was a Keynote speaker for the American Ceramic Circle annual conference (2023) and has given talks at various educational and cultural institutions including the Museum of the African Diaspora, the Metropolitan Museum of Art and the Newark Museum of Art. She served as the Community Engagement Apprentice to Architect Nina Cooke John for the Harriet Tubman Monument in Newark, New Jersey, to replace a statue of Christopher Columbus, and is currently working with students and faculty at Clemson University to create a sculpture that honors Black and enslaved laborers.

Grounded in historically and culturally significant materials such as indigo dye, human hair collected throughout the African diaspora and soil hand-dug from the True Blue plantation grounds in South Carolina, Gbadebo’s practice is an exploration of heritage. Her use of such materials centers her family history of enslavement in the American South, while her ceramics draw inspiration from traditional African pottery techniques, calling on her Nigerian ancestry. Fueled by research and a commitment to the archival record, Gbadebo’s multidisciplinary approach investigates the complex relationships between land, matter, and memory.

Solo exhibitions include Watch Out for the Ghosts, Nicola Vassell Gallery, New York (2025); Adebunmi Gbadebo: Remains, Claire Oliver Gallery, New York (2023) and Uprooted, New Jersey City University, Jersey City, NJ (2020). Group exhibitions include Rise Up: Resistance, Revolution, Abolition, The Fitzwilliam Museum, University of Cambridge, UK (2025); Ten Thousand Suns, 24th Biennale of Sydney, Artspace, AU (2024); Blues People, curated by Alliyah Allen, Express Newark, Rutgers University, Newark, NJ (2024); Songs for Ritual and Remembrance, Arthur Ross Gallery, University of Pennsylvania, PA (2023) and Hear Me Now: The Black Potters of Old Edgefield, South Carolina at the Metropolitan Museum of Art, New York; Traveled to the Museum of Fine Arts Boston, University of Michigan Museum of Art, and the High Museum of Art, Atlanta (2022). Gbadebo’s work is held in the collections of the Brooklyn Museum, Carnegie Museum of Art, Minneapolis Institute of Art, Minnesota Museum of American Art, Montclair Art Museum, Museum of Fine Arts Boston, Newark Museum of Art, the Rhode Island School of Design, the Smithsonian National Museum of African American History and Culture, the Smithsonian National Museum of African Art, the South Carolina State Museum, Wake Forest University and the Weisman Art Museum.

Gbadebo is represented by Nicola Vassell Gallery in New York.

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For availability and to purchase Periwinkle, email our Gallery Director Alex Blaisdell alex@highpointprintmaking.org

Andrea Carlson's New Solo Exhibition: Endless Sunshine

Highpoint Editions Artist, Andrea Carlson presents a new exhibition titled Endless Sunshine. The body of work shown will include her “first paintings on birchbark, a material she harvests from her Lake Superior homeland. Additional selections of paintings, as well as screenprints and sculptures, investigate how land can hold stories of power, potential, and dispossession. Endless Sunshine invites audiences to consider how landscapes are imagined and remembered, and how art can illuminate paths toward collective healing and self-determination.”

Endless Sunshine will be on view March 6th through August 9th, at the Contemporary Art Museum St. Louis.

Learn more about the exhibition here.

Printing Black America: Du Bois's Data Portraits in the 21st Century

William Villalongo and Shraddha Ramani, Median Net Monetary Worth of Black Families 2001–2022, 2026. Lithograph and collage. 22 x 28 in. Edition of 20. Printed and published by Highpoint Editions, Minneapolis, MN. © Villalongo Studio LLC. Courtesy William Villalongo, Shraddha Ramani and Highpoint Editions, Minneapolis, MN.

Assessed Value of Household and Kitchen Furniture Owned by Georgia Negroes. Image courtesy of the Library of Congress, Prints & Photographs Division, LC-DIG-ppmsca-33887. Inspiration for the print above.

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. To achieve this, Villalongo and Ramani worked in collaboration with printmaking studios in various regions of the United States and their communities. 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.

Printing Black America is organized as six thematic portfolios published in editions of 20. Each portfolio holds 5 images. The complete project collection includes all 6 thematic portfolios for a total of 30 images.

Printmaking partners on the project are USF Graphicstudio, Tampa, FL; Powerhouse Arts, Brooklyn, NY; Island Press, Washington University, St. Louis, MO; Highpoint Editions, Minneapolis, MN; Paulson Fontaine Press, Berkeley, CA; and Mullowney Printing Company, Portland, OR.

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EDITION INFORMATION

The Complete Printing Black America Collection

William Villalongo and Shraddha Ramani

Printing Black America: Du Bois's Data Portraits in the 21st Century, 2026

30 prints in six foil-stamped fabric-covered portfolios plus a screenprinted table of contents, foreword by Nell Irvin Painter, acknowledgements page, poem by Langston Hughes, and title pages for each portfolio.

Edition of 20

Published by USF Graphicstudio, Powerhouse Arts, Island Press, Highpoint Editions, Paulson Fontaine Press, and Mullowney Printing Company

$70,000

Impressions available: 10/20, 11/20, 12/20

Portfolio Four: Ownership

William Villalongo and Shraddha Ramani

Printing Black America: Du Bois's Data Portraits in the 21st Century, 2026

One foil-stamped fabric-covered portfolio containing five prints plus a screenprinted foreword by Nell Irvin Painter, acknowledgements page, poem by Langston Hughes, and title page.

Edition of 20

Published by Highpoint Editions

$12,500

Impressions available: 19/20, 20/20

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PORTFOLIO ONE: FIRST IMPRESSIONS

PORTFOLIO TWO: POPULATIONS

PORTFOLIO THREE: EMPLOYMENT

PORTFOLIO FOUR: OWNERSHIP

PORTFOLIO FIVE: EDUCATION

PORTFOLIO SIX: COMMUNITIES

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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.

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.

Adebummi Gbadebo Named as Participating Artist in 61st Venice-biennale

Adebunmi Gbadebo among the participating artists announced for “In Minor Keys,” the main exhibition at this year’s 61st Venice Biennale, curated by the team of the late curator Koyo Kouoh.

The Venice Biennale has revealed the 105 artists and collectives and six artist-led organizations participating in the main exhibition its sixty-first iteration, to take place May 9–November 22. The show was conceived by Cameroon-born curator Koyo Kouoh, who died last summer as she was putting it together. The exhibition is being realized by a team she assembled, comprising curators Gabe Beckhurst Feijoo, Marie Helene Pereira, and Rasha Salti; critic Siddartha Mitter, who is serving as the Biennale catalogue’s editor; and research assistant Rory Tsapayi.

“The sixty-first international art exhibition of La Biennale di Venezia intends neither a litany of commentary on world events, nor an inattention or escape from compounding and continuous intersecting crises,” said Tsapayi, speaking at a press conference at which the participants were revealed. “Rather, it proposes a radical reconnection with art’s natural habitat and role in society, that is the emotional, the visual, the sensory, the effective, the subjective.”

Spread across the Giardini’s Central Pavilion, the Arsenale, and other sites, “In Minor Keys” will additionally encompass outdoor installations, performances, and a procession of poets in the Giardini.

Learn more about the announcement on Artnet here and Artforum here!

Brooklyn Public Library Showcases Printing Black America

William Villalongo and Shraddha Ramani, Occupations of Black Americans 1900 - 2021, 2025. Screenprint, chine collé. 28 x 22 in. Printed and published by Island Press, Washington University, St. Louis, MO. © Villalongo Studio LLC. Courtesy William Villalongo, Shraddha Ramani and Island Press, St Louis, MO.

William Villalongo and Shraddha Ramani’s monumental project created with 6 print shops around the country is now on view at the Brooklyn Public Library! The exhibition is on view through May 31, 2026.

Printing Black America is a responsive, transhistorical project that portrays aspects of Black life in the 21st Century. Urbanist Shraddha Ramani and visual artist William Villalongo reinterpret and respond to the data visualizations innovated by luminary activist and educator W.E.B. Du Bois—what he called “data portraits”—that debuted among a collection of materials at the 1900 Paris World’s Fair in “The American Negro Exhibition” (ANE). One hundred and twenty-five years later, Ramani and Villalongo expand on Du Bois’s methodologies of data collection and visual storytelling, centering “living projects” in local communities across the country to consider new possibilities for Black life today and to probe at the meaning of these historical works when held up against our contemporary moment.

This exhibition shows historical source material alongside the contemporary works of Printing Black America. An installation in the Languages and Literature wing delves into The American Negro Exhibition (sometimes referred to as the Exhibit of American Negroes) in the 1900 Paris World’s Fair, offering important context. It was co-organized by a collective of leading African American scholars, activists, and human rights advocates: Thomas J. Calloway (leading the project; a lawyer and principal fundraiser for the exhibit), Daniel A.P. Murray (the Assistant Librarian of Congress), and W.E.B. Du Bois. This grand prize-winning exhibition offered a powerful encapsulation of Black progress despite structural oppression and a counter-narrative against the mainstream ideology of racism, celebrating Black life and achievement in America’s post-Reconstruction era.

Importantly, Printing Black America employs the same means of mechanical reproduction in image-making—printmaking—used in Du Bois’s era, using various fine art printing techniques to create vivid imagery. It was editioned across a national network of printshops, from Graphicstudio in Tampa to Highpoint Center in Minneapolis, Island Press in St. Louis to Mullowney Printing in Portland, Paulson-Fontaine in San Francisco to Powerhouse Arts in Brooklyn.

The celebration of Black people, culture, and life was central to Du Bois’s work. It is central, too, to Printing Black America. Like Du Bois’s incisive inquiries, his demographic methodologies, and his fight for civil rights, Printing Black America offers far more than a reinscription of the issue Du Bois named in his 1903 masterpiece, The Souls of Black Folk, as the defining problem of the 20th century: the problem of the color line. Like its source, Printing Black America gives visibility to the shapes of collective, creative resistance, and to Black joy, dignity and continued self-determination.

Learn more about the exhibition here.

Learn more about the full collection of Printing Black America here

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Leslie Barlow's Solo Exhibition: A Practice of Being With

Highpoint Editions artist, Leslie Barlow will be exhibiting a new show titled, A Practice of Being With. The exhibition will be on view Monday, February 16th through Friday, March 20th, with a special lecture from the artist taking place on February 19th, from 6-7 p.m in Ostrander Auditorium. “‘A Practice of Being With’ brings together life-sized oil portraits created across several years of Leslie Barlow’s practice, including works from ‘vision of a soft sun,’ ‘Tracing (admiration, conversation, seeing),’’ ‘Within, Between, and Beyond,’ and the recent series ‘Us, Becoming,’ Together, these paintings invite viewers to slow down and reflect on how we come to know ourselves and one another through race, identity, care and belonging. Built from layers of vivid oil paint and stitched fabric, the works hold moments of rest, joy, tenderness and liberation; moments made possible through shared presence and deep attention.”

Sweetness, Oil, pastel, acrylic on panel, 40” x 30”, 2020

The exhibition will be on view from February 16th through March 20th, 2026, at Minnesota State University, Mankato’s Conkling Gallery (located in Nelson Hall 139)

Learn more here!

Skycatcher by Nicola López

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Skycatcher

Nicola López, 2026

intaglio with chine collé

Edition of 8

Image: 17 ¾ x 17 ¾ inches

Paper: 25 ½ x 25 inches

$1,900 unframed

Highpoint Editions is pleased to release Skycatcher, a new print by New Mexico-based artist Nicola López. In this ambitious intaglio print, the hybrid landscape depicted reflects the impact of human intervention alongside nature’s tenacious ability to adapt.

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Nicola López’s work exists at the intersection of human-built environments and “Nature,” exploring how these two realms collide, echo, and intertwine. Her landscapes reconfigure, distort, and merge familiar worlds—urban, technological, botanical, and geological—to create spaces that are at once mysterious, disorienting, beautiful, and unsettling.

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In Skycatcher, López reflects on her place within a complex and overwhelming, yet deeply cherished world, examining the nature and consequences of human “progress,” and imagining what resilience might look like amid profound change. The print points to the fragility of the world we inhabit and have helped build, while also highlighting its mystery and tenacious beauty.

The composition of the piece emulates a perspective one might encounter when looking upward through a tree’s canopy, where intertwining branches merge with skeletal architectural forms. The relationship between tree and structure remains intentionally ambiguous: it is unclear whether one grew around the other, whether the form emerged as a hybrid, or whether each began independently before becoming inextricably entangled.

The conceptual tension in López’s work mirrors her approach to process. From the outset of her collaboration with Highpoint Editions, López was intent on immersing herself fully in intaglio techniques—drawing on extensive prior experience while pushing the medium through rigorous technical exploration. She experimented broadly, combining methods and utilizing different processes to achieve deep, expressive marks alongside curving, natural figures. The image’s dark, industrial framework was created using aquatint to produce a dense, velvety black. Engraved lines were added to raise the paper’s surface, deepening the tonal presence and enhancing the texture, and areas within the tree branches were selectively burnished to introduce organic nuance.

The black silhouette divides the sky into discrete shapes, forming a net in which fragments of sky are framed, caught, or cradled. The sky feels alive—pulsing with varied, intense shades of blue—yet also appears as if it could be shattered, its shards suspended midfall. To achieve these lozenges of color, López used watercolor on an early proof to help decide which tones of blue to accentuate. After initial attempts using lithography and pochoir proved challenging, the final solution emerged in intaglio and five separate blue ink colors. The blue of the sky is expansive: the image’s foundation lies in a collé sheet adhered with tinted wheat paste, producing a subtle, atmospheric hue that could not be achieved through dye or pigment alone.

López working on a plate in the Highpoint Editions Studio

An early proof using a dyed chine collé sheet being cut to the size of the plate. This process created too dark and uneven of a tone in the sky.

López preparing a plate in the Highpoint Editions Studio

Every stage of Skycatcher’s development demanded meticulous attention, from the exacting marks made by López on the plate, to the complex inking and wiping process. The print’s substrate—Revere Polar White Suede— is now irreplaceable, as the Magnani mill was destroyed in an earthquake in 2016. The paper plays a crucial role in the print’s success, holding the engraved marks with exceptional clarity and depth.

Wiping of the copper plate after inking

Through both concept and process, the print embodies López’s ongoing exploration of the power of confrontation between nature and human-made systems: revealing beauty, vulnerability, and endurance in equal measure.

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Nicola López examines and reconfigures contemporary landscapes through drawing, printmaking, site-specific installation, sculpture and video. Her work points to connections and rifts between our human-constructed world and the systems and cycles of nature. She engages architecture and urban structure as ever-accumulating evidence of human aspirations and failures, often contrasting and intertwining them with geological and organic formations. Her work draws on anthropology, architecture, urban planning and historical and fictional explorations of utopia/dystopia. It leans heavily into material process, intentionally bringing joy, improvisation, and care into the work as it reflects on human patterns of extraction and construction.

López has participated in several residencies and received grants and fellowships including a NYFA Fellowship in Drawing/Printmaking/Book Arts, a grant from the Joan Mitchell Foundation, a Fellowship at the American Academy in Rome, and a 2024 Guggenheim Fellowship. Her work is held in prominent institutional collections and has been exhibited throughout the United States and internationally, including at the Metropolitan Museum of Art, MoMA and the Guggenheim Museum in NY, the Los Angeles County Museum of Art, the Museo Rufino Tamayo in Mexico City, the Denver Art Museum, Nevada Museum of Art, the Albuquerque Museum, and the Inside-Out Museum in Beijing.

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For availability and to purchase Skycatcher, email our Gallery Director Alex Blaisdell alex@highpointprintmaking.org

Villalongo and Highpoint Interviewed on MPR

Five prints from Highpoint Center for Printmaking in Minneapolis are a part of the "Data Consciousness: Reframing Blackness in Contemporary Print" exhibit in New York.

Courtesy of Argenis Apolinario

Nina Moini of Minnesota Public Radio recently interviewed artist William Villalongo and Highpoint Gallery Director Alex Blaisdell for Minnesota Now about Highpoint’s project with Villalongo and its inclusion in the exhibition Data Conciousness at the Print Center New York.

“Prints from a Minnesota studio are among those on display as a part of novel exhibit at the Print Center New York. The project, called “Data Consciousness: Reframing Blackness in Contemporary Print,” is inspired by the ground-breaking data visualization work of W.E.B. Du Bois presented at the 1900 Paris Exposition, which sought to present various aspects of Black life after Reconstruction.

This contemporary exhibit draws on updated data from official records, archives and oral testimonies to provide a contemporary look into the same themes explored by Du Bois.

MPR News host Nina Moini talked with one of the artists behind the show, William Villalongo, along with Alex Blaisdell, gallery director at Highpoint Center for Printmaking in Minneapolis.”

Read or listen to the interview here!

Raven Chacon in An Indigenous Present

Highpoint Editions Artist, Raven Chacon is featured in a new exhibition titled An Indigenous Present. This exhibit spans 100 years of modern and contemporary Indigenous work and “includes new commissions and significant works by 15 artists who use strategies of abstraction to represent personal and collective narratives, describe specific and imagined places, and build upon cultural and aesthetic traditions. Co-organized by artist Jeffrey Gibson and independent curator Jenelle Porter, the exhibition offers an expansive consideration of Indigenous art practices that highlights a continuum of elders and emerging makers, and premieres newly commissioned site-specific works by Raven Chacon, Caroline Monnet, and Anna Tsouhlarakis.” This show is organized into five interconnected thematic sections that begin with a focus on the work of George Morrison and Mary Sully, two important forebears in the development of contemporary Indigenous art during the first half of the 20th century. The exhibition will begin it’s tour in Boston, and will then be shown at the Frist Art Museum before making it’s way to the Frye Art Museum in Seattle, come November, 2026.

Raven Chacon, American Ledger No. 1 (Army Blanket) (detail), 2020, score for performance, unique army blanket, digital print, 59 × 79".

An Indigenous Present debuts at the ICA (Oct 9, 2025 – Mar 8, 2026) before traveling to the Frist Art Museum in Nashville (June 26—September 27, 2026) and the Frye Art Museum in Seattle (November 7, 2026—February 14, 2027)

Learn more about the exhibition here.

Andrea Carlson’s first museum survey at the Denver Art Museum

The Denver Art Museum is holding Highpoint Editions Artist Andrea Carlson’s first ever museum survey titled, A Constant Sky! “Carlson’s meticulous, multilayered art expands the narrative around how landscape and narrative function in a colonial space. By drawing objects from museum collections and placing them in her own landscapes, Carlson refuses the idea of a singular ownership and deconstructs what it means to be interpreted by others.

Andrea Carlson (descended from Grand Portage Ojibwe and European settlers, b. 1979), Ink Babel, 2014. Ink and oil on paper; 115 3/8 x 183 3/8 in. Collection Museum of Contemporary Art Chicago: Restricted gift of Emerge, 2021.12.a-hhh. © and courtesy of Andrea Carlson

The exhibition will be on view at the Denver Art Museum from October 5, 2025 until February 16, 2026

Learn more here.