• Saturday, May 10, 20254:00 PM
  Saturday, June 7, 20255:00 PM

• Flatbed is proud to announce its fourth annual student printmaking exhibition, Éditions Variables – New Austin Printmakers. This dynamic showcase celebrates the vibrant and evolving landscape of printmaking in Austin, featuring works by students from Austin Community College, The University of Texas at Austin, St. Edward’s University, and Texas State University.

Join Flatbed in celebrating the legacy of Jerry Manson, who served as Flatbed’s Master Printer of editioning from 1990 - 2002 and Master Printer Emeritus from 2002 until 2019.

To honor Manson, this exhibition will highlight his lithographs and etchings along with the relief work of Brooke Burnside. Burnside, Flatbed’s 2024 Jerry Manson Residency awardee.

Flatbed is proud to announce its annual Community Studio group exhibition.  Known as Flathead Printmakers, each is a member of the bustling Community Studio where they have access to lithographic, intaglio and letterpress equipment.  Flatbed is excited to see a growth in membership over the past year and is even more excited about the work being created in the Community space.

Flatbed is excited to present an exhibition of new monotypes and an etching by Jeffrey Dell.  The exhibition’s title “Tidal Waive” alludes to both the fluid spacial elements seen in many of these prints and a resistance to find titles for the singular works in the monotype series which are premiering in this exhibition.  Dell uses traditional printmaking media to create works on paper that explore the fluid perception of space. 

Field Notes on Augury: ISTI MIRANT STELLA:  Flatbed is pleased to present a selection of works by Serena Perrone spanning printmaking, ceramics, glass, photography, and text. Often taking cues from literature and art history, her varied bodies of work are unified by the use of color and recurring symbols, relying heavily on process, workmanship, and decoration. The works in this exhibition record instances of both wonder and trepidation when confronting the landscape and natural phenomena. Isti Mirant Stella (“they marvel at the star”) is a nod to the auspicious appearance of Halley’s Comet as depicted in the Bayeux Tapestry of 1066, as Perrone proposes the possibility of reading the past and gleaning clues to the future through close attention to the terrestrial and celestial realms.

Flatbed is excited to present an exhibition of woodcuts and etchings by Annalise Gratovich during Austin’s celebrated Print Month. Gratovich is an innovative printmaker was awarded the title of Creative Ambassador of Visual Arts in 2019 by the City of Austin and exhibits extensively nationally and internationally, most recently in Buggenhagen, Germany, New York, NY

Flatbed is celebrating the holidays with an exhibition that highlights new work from collaborations at Flatbed Press during 2023. This group exhibition includes Erika Huddleson (Dallas), Peter Leighton (Burnet), Laura Berman (Kansas City, MO), Adrian Armstrong (New Haven, CT), Serena Perrone (Atlanta, GA), David Everett (Austin), Darden Smith (Austin), James Sullivan (Dallas0, and Jeffrey Dell (San Marcos). Linda Ridgway (Dallas) , Charlotte Seifert (Houston) and Kyle Hawley (Austin).

Flatbed Center for Contemporary Printmaking is excited to announce their second annual exhibition showcasing Austin’s new and upcoming printmakers. This exhibition features work from students who are receiving their BFA, BA, BS, or MFA with a major or minor concentration in printmaking from an Austin area college or university. The exhibition represents a wide variety of new artists that are investigating and challenging what printmaking can be.

The address was 912 West 3rd Street.  It was a 19th century 2000 square foot railroad warehouse full of furniture and oddities stored by an entrepreneur who combed auctions. When Katherine Brimberry and Mark L. Smith went looking for a place to park Brimberry’s press and operate their newly formed Flatbed Press in September of 1989, an acquaintance sent them to the third street warehouse to check out some space which was available to rent starting  in October.  The warehouse faced the railroad tracks just east of the bridge spanning Lamar.  Its clear-story skylights illuminated the back 1200 square feet and the price was right for a very tight budget. Already located next to 912 W. 3rd, was the studio of sculptor John Christiansen. Best of all, the view from the front loading dock overlooked the railroad and the lake below.  It was perfect.  It was positively third street. 

Flatbed is proud to announce “Everyone” an exhibition of new monoprints and etchings by Connie Arismendi. Arismendi who has been in residence at Flatbed in 20 21 and 2022, created a series of large 42” x 55” monoprints and a suite of three chine collé varied edition etchings.

Flatbed Center for Contemporary Printmaking is excited to announce their first annual exhibition that showcases Austin’s new and upcoming printmakers. This exhibition features work from students who are receiving their BFA, BA, BS, or MFA with a major or minor concentration in printmaking from an Austin area college or university. The exhibition represents a wide variety of new artists that are investigating and challenging what printmaking can be.

Image:

Joseph Maxfield

“New Age”

Screenprint

2022

11”x14”

We invite you to come to this exhibition with open mind and eyes to see and experience abstraction’s transcendent language.

Showing: Larry Scholder, “After”, Spit-bite aquatint etching, Image size 10 x 8 inches.

Flatbed is excited to share our first 2021 exhibition Nothing About Us Without Us with the community. This is an exhibition of works by Matthew Forrest who worked in collaboration with artists from Imagine Art during 2020. The timing of the exhibit is for PrintAustin 2021, and it celebrates the inclusive nature of printmaking and the power of collaboration. The title of the exhibition was taken from a centuries-old slogan asserting that no policy should be created without the full and direct participation of those it affects. It was adopted by the disability rights movement in the 1990s as a call to action around the passage of the Americans with Disabilities Act (ADA).