“On the basis of this sampling, it might be tempting to propose a thesis about the state of contemporary printed art—its self-awareness as an instrument of both image reproduction and material craft; its status as a metonym for the contingency of comprehension. And were this a curated show, in which evidence is cherry-picked to illustrate a particular point, we might be convinced. In “50/50,” however, things aren’t that simple.
What are we to do, for example, with Mary Lynn Blasutta’s stylish monoprints with their Alex-Katz-meets-Charley-Harper pictorial perfection? Or Kevin Frances’ beautifully rendered mokuhanga-style woodcut of a cluttered student desk? Or Ross Racine’s intricate aerial views of fictional suburbs? Compelling artworks evincing faith in the function of pictures.”
— Patterns of Interference by Susan Tallman, from Volume 5, Number 2, Art in Print
