Helen M. Salzberg Artist in Residence Proposal Jaffe Center for Book Arts, Florida Atlantic University DOROTHY SIMPSON KRAUSE: RIVER OF GRASS
CONTENTS
Artist in Residence Proposal: River of Grass (brief narrative) Background for the Artist in Residence Proposal
Workshop Proposal: “Transfer processes for book artists” (brief narrative)
Processes: Creating Black Gold Using digital technology to handcraft an artist book, Losing Ground
Resume : Biography and Statement Resume
Sample Book: Prototype of workshop book Helen M. Salzberg Artist in Residence Proposal Jaffe Center for Book Arts, Florida Atlantic University DOROTHY SIMPSON KRAUSE: RIVER OF GRASS
Artist in Residence Proposal (brief narrative): As my project for the Jaffe Center, I propose to do a limited edition drum leaf book related to my current series of work, “River of Grass”, a tribute to Marjory Stoneman Douglas, (1947-1997), and her seminal book, “The Everglades: River of Grass”. Although the project may evolve in process, I envision transferred inkjet images of the Everglades combined with text from Douglas’ book, a letterpress printed introduction and a book cover and box made with paper incorporating grasses gathered in the Everglades.
During the Spring Semester next year I will be in the Boca Raton area and will be available to work at the Center as needed. Although I have considerable experience with inkjet printers and various transfer processes, I look forward to utilizing the papermaking and letterpress facilities of the Center to enrich this project. I anticipate using the honorarium provided by the Center for assistance and will determine the dimensions of the book and the size of the edition based on available help.
A small book of inkjet transfers to paper with a transferred metal cover is included to illustrate my workshop proposal, “Transfer Processes for Book Artists”. The books produced in the workshop will be similar in size and format and the book produced for the residence will use similar processes.
My solo exhibition, “River of Grass”, is scheduled for June - July, 2012 at 571 Projects in New York City. The images for the exhibit, which are transferred to surfaces as diverse as aluminum and fresco, will focus on the beauty of this rare ecosystem, in its pristine reflectivity and, in the eroded surfaces, it’s fragility. The book, River of Grass, will be featured in the exhibit and at least one reading/ panel discussion will be scheduled.
I look forward to being a productive member of the Jaffe Center community.
From the series “River of Grass” Sunset, 32’’ x 48’’ x 2’’ pigment transfer to fresco with metallic pigment Helen M. Salzberg Artist in Residence Proposal Jaffe Center for Book Arts, Florida Atlantic University DOROTHY SIMPSON KRAUSE: RIVER OF GRASS
Background for the Artist in Residence Proposal: During the depression my parents trapped alligators in the swamps and bayous north of Mobile, Alabama. Once a month they returned to civilization to sell their hides and buy flour, sugar and coffee to supplement their diet of fish and possum. Had my mother not caught malaria and been forced to leave their chosen lifestyle, I would never have been born.
As a child and an adult, most of my life has been spent near the water, and for nearly a decade much of my artistic production has focused on our interaction with the environment. All of the images I have chosen to include as background for my proposal relate to Florida and the Everglades.
In 2002 I had a solo exhibit and was a Visiting Artist at Florida Gulf Coast University in Fort Myers. While there I made a book using collaged fragments from city planning documents and called it Planned Environment. This small book was one of my first commentaries on man’s continuing incursion into the landscape.
Planned Environment 5” x 4” , 76 pages mixed media pamphlet sewn book handmade banana leaf paper cover with red spine In 2002, in the aftermath of the 9/11 attacks, I produced the series “Sacred Spaces”. I chose images of places that still the mind, nourish the soul and provide a refuge for reflection and contemplation.
From the series “Sacred Spaces” Thorns, 24” x 24”, pigment print on textured non-woven fabric with pearl pigment Reflection, 24” x 24”, pigment print on aluminum Field of Gold, 24” x 24”, pigment print on textured non-woven fabric
Of the 2004 series “Fragile Beauty”, Abigail Ross, Curator said:
Dorothy captures the fleeting essence of unadulterated nature, the rare patches of land where humans have only tiptoed and whispered, where the mass impact of our human existence has somehow been held at bay. Sensitive to these fearfully brief passages, Dorothy has been working for two years to pay homage to the land and share the sadness that accompanies her appreciation. There is a tension between lush atmosphere and details as delicate as a butterfly wings. This feeling is captured by blending photography, paint, frescos, metal and graphite. The work is tinged with melancholy, knowing that we can hold these images only because they have been stopped in time. Dorothy’s newest project, “Fragile Beauty”, transforms landscapes into mindscapes. She has infused her most beautiful work with intense meaning.
From the series “Fragile Beauty” Light, Winding Stream and Last One Standing, 24” x 24”, pigment transfer to linen canvas Climate Change, a unique book produced in 2007, used images pigment printed onto painted paste paper in the hot colors of global warming. The cover, made of copper wrapped wood, was pigment printed with an image of a vanishing landscape.
Climate Change, 7.5’’ x 5.75’’ x 1.66’’ Acrylic under-paintings with pigment prints Drum leaf binding, and patinaed copper foil over wood cover with leather spine
Landsquares, a 2008 ox-plow book, repurposed some of the images from Climate Change.
Landsquares, 3’ x 3” closed, 9” x 12” open 12 pages folded from a single sheet, printed both sides Common Ground, another unique book was also completed in 2008. It incorporated a collection of prints, paintings and drawings on a variety of papers, including translucent vellum.
Common Ground, 6” x 7.5’’ Prints, paintings and drawings Painted wood cover, engraved with a co2 laser printer and leather spine sewn over tapes Cover and pages
In 2009 I completed the series “Losing Ground” and an artist book with the same name. Combining images made during the past decade with text from the Intergovernmental Panel on Climate Change, I used digital technology and hand binding techniques to create a book in three editions; deluxe, limited and trade, so that it would be available at a range of prices.
A copy of the limited edition is in the collection of the Jaffe Center. A page-turning flipbook can be seen at http://www.dotkrause.com/Flipbook/FlipBook%20Losing%20Ground/template.htm, and an explana- tion of the production process is included with this proposal. Losing Ground Deluxe Edition of 5, 12 ‘’ x 12’’, Enhanced Indigo prints, copper over Nigerian goat cover, boxed Limited Edition of 100, 12 ‘’ x 12’’, Indigo prints, copper over fabric cover, boxed Trade Edition, 7” x 7”, softcover, available on Blurb.com
Losing Ground, pages 24 - 25 12’’ x 12’’ each page Losing Ground, pages 24 - 25 12’’ x 12’’ each page
That same year, I was invited to be the von Hess Visiting Artist at The University of the Arts Borowsky Center in Philadelphia. I used their Heidelberg Offset Lithography Press to produce an edition of 100 prints, Black Gold.
Printed with only silver, gold and black inks, it incorporated a chine colle inkjet print from the “Losing Ground” series to reference our dependence on oil and the damage to the environment caused by the burning of fossil fuels.
An explanation of the production process is also included with this proposal.
Black Gold, 24’’ x 17.5’’ Offset lithograph with chine colle inset, edition of 100 In 2010 - 2011, the series “Visions” took on a darker aspect. Referencing Samuel Taylor Coleridge’s “Kubla Kahn or, A Vision in a Dream, A Fragment”, I explored the apocalyptic destruction of water. Submerged architectural fragments reflect branches and illuminate floating leaves and branches. Again, a book of the same name, accompanied the series.
From the series “Visions” Shadows 1, 48’’ x 36’’ x 2’’ , pigment print on film over copper nailed to wood Portals, 44’’ x 38’’ x 4’’ , pigment transfer to shaped, dimensional copper, diptych Shadows 2, 48’’ x 36’’ x 2’’ , pigment print on film over copper nailed to wood
My current series, “River of Grass”, is in process. The mixed media images of the Everglades, scheduled for exhibition in the early summer of 2012 in Chelsea, will include the book, “River of Grass”, produced at the Jaffe Center.
Bank, Misty River, Ripples 24’’ x 24’’ each, pigment transfers to various surfaces Helen M. Salzberg Artist in Residence Proposal Jaffe Center for Book Arts, Florida Atlantic University Workshop: Transfer processes for book artists
Workshop Proposal (brief narrative): In this one day workshop we will use alcohol gel and “Super Sauce” to transfer inkjet prints to a porous surface, paper, and to a non-porous surface, metal. We’ll also explore black and white copier toner transfers. We’ll use hot press printmaking paper for our pages and as covers for our book, we’ll use sheets of aluminum with our transferred images and text. Finally, we’ll fold the paper with our transferred prints into folios, attach them together and create a version of an accordion book.
Background: A film with a precoat that will release is a critical component in all inkjet transfer processes. We’ll be using images and text pre-printed on an inkjet film designed for the transfer process.
Damp paper has traditionally been used in printmaking to transfer ink through capillary action. It works well for unbound paper but alcohol gel, a mixture of alcohol and glycol, like Purel hand-sanitizer, allows you to transfer inkjet prints to paper without the shrinking and warping associated with water. It’s especially useful for transferring into bound books.
“Super Sauce”, a transfer medium, coated onto non-absorbent surfaces like metal or Plexiglas makes it possible to create a bond between an inkjet transfer and the hard surface.
Process: We will begin by transferring pre-printed images, all related to Florida, to paper using alcohol gel. Then we will fold our transferred paper into folios, or double page spreads.
Removing the film in the process of transferring an inkjet print to paper saturated with alcohol gel Everglades (open), 7” x variable” , 12 pages inkjet transfers to folios in accordion binding
We’ll use “Super Sauce” to transfer images and/ or text to metal for our covers.
We’ll look at sequencing the pages and attach them together at the fore edge into a version of the accordion format. We can add text or additional imagery with toner transfers or other media to complete our book block, insuring that it is visually and conceptually coherent.
Finally, we’ll adhere the metal to the accordion as the front and back covers of our book. We’re making a simple, elegant structure that works well standing open or closed.
Final touches can be added with markers, colored pencil, paints, pastel and/ or Florida-related collage materials. You are encouraged to bring any media or materials you feel comfortable using, however all of the necessary components for the project will be provided along with a list of sources for your future purchases.
Everglades (cover), 7” x 5” inkjet transfer to aluminum cover using “SuperSauce” DOROTHY SIMPSON KRAUSE www.DotKrause.com www.Viewpoint.com
Biography
Krause is a painter, collage artist and bookmaker who incorporates digital mixed media. Her work is exhibited regularly in galleries and museums and featured in numerous current periodicals and books. She is Professor Emeritus at Massachusetts College of Art where she founded the Computer Arts Center, and a member of Digital Atelier®, artist collaborative. She is a frequent speaker at conferences and symposia and a consultant for manufacturers and distributors of products used by fine artists.
In 1997, Krause organized “Digital Atelier: A printmaking studio for the 21st century” at the Smithsonian American Art Museum. For that work she received a Smithsonian Technology in the Arts Award. That same year, she worked with a group of museum curators to help them envision the potential of digital printmaking in “Media for a New Millennium”, a work-tank/ think-shop organized by the Vinalhaven Graphic Arts Foundation. Statement
In 2000 Krause received a Kodak Innovator I am a painter by training and collage-maker by Award and in June 2001, with Digital Atelier, she nature who began my experimental printmaking demonstrated digital printmaking techniques at with reprographic machines. Since being introduced the opening of the Brooklyn Museum of Art 27th to computers in the late 1960’s when working Print National, “Digital: Printmaking Now”. In on my doctorate at Penn State, I have combined 2005 she was a Visiting Artist at the American traditional and digital media. My work includes Academy in Rome and in 2007 was the Von Hess large scale mixed media pieces, artist books and Visiting Artist at the University of the Arts in book-like objects that bridge between these two Philadelphia. forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and Krause is the author of Book + Art: Handcrafting meaning. It combines the humblest of materials, Artists’ Books published by North Light in 2009 plaster, tar, wax and pigment, with the latest in and co-author, with Lhotka and Schminke, of technology to evoke the past and herald the future. Digital Art Studio: Techniques for combining My art-making is an integrated mode of inquiry that inkjet printing with traditional art materials, links concept and media in an ongoing dialogue - a published by Watson-Guptill in 2004. visible means of exploring meaning. DOROTHY SIMPSON KRAUSE 32 Nathaniel Way Marshfield, MA 02050 781-837-1682 www.DotKrause.com www.ViewpointEditions.com
Selected Solo and Digital Atelier Exhibitions 2012 571 projects, Dorothy Simpson Krause: River of Grass, Chelsea, NY, NY 2011 571 projects, Dorothy Simpson Krause: Visions, Chelsea, NY, NY Southern Light Gallery, Amarillo College, Dorothy Simpson Krause: inRetrospect, Amarillo, TX Art Complex Museum, with the Boston Cyberarts Festival, Portals: The Dimensional Imagery of Digital Atelier, Duxbury, MA Landing Gallery, Dorothy Simpson Krause: Portals, Rockland, ME New England Biolabs, Dorothy Simpson Krause: New Dimensions, Ipswich, MA 2010 Monte Pearson Gallery, Pearson Lakes Art Center, Confluence: The Art of the Digital Atelier, Okoboji, IA Thayer Academy Gallery, Thayer Academy. Dorothy Simpson Krause: Mixed Media. Braintree, MA 2009 Rotary Ice House Gallery, Monmouth University, Work from the Digital Art Studio, Monmouth, NJ Landing Gallery, Dorothy Simpson Krause: Losing Ground, Rockland, ME South Shore Art Center, in conjunction with the Boston Cyberarts Festival, Dorothy Simpson Krause: Losing Ground, Cohasset, MA 2008 Center for the Arts, Explorations: Work from the Digital Atelier, Louise Noakes curator, Manassas, VA NAMTA/ Golden Artist Colors, Work from the Digital Art Studio, Reno, NV Rochester Institute of Technology, Work from the Digital Art Studio, Rochester, NY 2007 PARC (Palo Alto Research Center), Work from the Digital Art Studio, Palo Alto, CA
Cornish College of the Arts, Work from the Digital Art Studio, Seattle, WA
Edmonds Community College, Explorations: Work from the Digital Atelier, Seattle, WA
Judi Rotenberg Gallery, Dorothy Simpson Krause: Viewpoint, Boston, MA Whistler House Museum of Art, Dorothy Simpson Krause: Book + Art, Lowell, MA Lower Columbia College, Work from the Digital Art Studio, Longview, WA 2006 Walker Fine Art, Selective Vision: The Art of Digital Atelier, Denver, CO 119 Gallery, Digital Atelier: New Horizons in Printmaking, Lowell, MA The Catherine G. Murphy Gallery, The College of St. Catherine, Work from the Digital Art Studio, St. Paul, MN Higgins Art Gallery, Cape Cod Community College, Work from the Digital Art Studio, West Barnstable, MA 2005 Harvard Medical School Countway Library, Ars Longa - Vita Brevis, Artist-in-Residence Exhibit, Boston, MA
Judi Rotenberg Gallery, Dorothy Simpson Krause: Passages, Boston, MA Galeria Okno, Not-Obvious, Anna Panek-Kusz, curator, Slubice, Poland Danforth Museum of Art, Reflective Visions: New Work from the Digital Atelier, Framingham, MA New Bedford Art Museum, Work from the Digital Art Studio, New Bedford, MA Center for Contemporary Printmaking, New Tools/ New Techniques: Printmaking in the Computer Age, Norwalk, CT 2004 Judi Rotenberg Gallery, Dorothy Simpson Krause: Fragile Beauty, Boston, MA Attleboro Museum of Art, Dorothy Simpson Krause: Focus, Dore Van Dyke curator, Attleboro, MA Christopher Brodigan Gallery, Groton School, Promised Land, Beth van Gelder curator, Groton, MA 2003 Gallery One, New England School of Photography, Sacred Spaces, Boston, MA The Federal Reserve Bank, Two murals, 15’ and 20’ and 5 pieces on the Bank’s history, Boston, MA Danforth Museum of Art, Dorothy Simpson Krause: body + soul, Framingham, MA Judi Rotenberg Gallery, Peace Prayers and Sacred Spaces, Boston, MA 2002 Evos Arts Institute, Dorothy Simpson Krause: Journeys, Mary Ann Kearns curator, Lowell, MA Florida Gulf Coast University, Cuba: History Rewritten, Fort Myers, FL Governors State University, Beyond the Digital Print 2002, University Park, IL 2001 Art Complex Museum, Dorothy Simpson Krause: Sacred and Mundane, Duxbury, MA 2000 The Trustman Art Gallery, Simmons College, Journey of the Spirit, Boston, MA Creiger-Dane Gallery, timeXposure:explorations in time, space and movement, Boston, MA Danforth Museum of Art, heARTland: Prints From the Digital Atelier, Framingham, MA 1999 University of Massachusetts, Into the New Millennium, Lowell, MA 1998 The Avenue of the Arts, Eighteen panel mural 72” x 864” celebrating Bostons arts organizations 1997 Louisiana State University, Exploring the Tarot, Shreveport, LA, 1997 Creiger-Dane Gallery, Ennobling the Ordinary, Boston, MA University of Massachusets, New Digital Imaging, Dartmouth, MA Silicon Gallery, Lit From Within: Dorothy Simpson Krause and Bonny Lhotka, Philadelphia, PA 1996 The Williams Gallery, Dorothy Simpson Krause, Princeton, NJ 1995 Gallery 911, Transcending Reality: Wishes, Lies and Dreams, Indianapolis, IN Jewett Art Center, Wellesley College, Retrospective, Wellesley, MA 1994 The Center for Creative Imaging, Creating Transitions, Camden, ME The IRIS Gallery, IRIS Graphics Inc., Subverting the System, Bedford, MA Gallery One, New England School of Photography, Confronting Realities, Boston, MA 1993 Gallery 410, University of Massachusetts, Exploring Alternatives, Lowell, MA Winfisky Gallery, Salem State College, Pushing Boundaries, Salem, MA University of Southern Maine, Herstory: Culture/ Politics, Portland, ME Digital Equipment Corporation, New Work, Marlboro, MA 1992 Mt. Ida College, Common Heritage, Newton, MA 1991 Bridgewater State College, New Work, Bridgewater, MA 1990 Do While Studio, Work in Progress, Boston, MA Tower Gallery, Massachusetts College of Art, Work in Progress, Boston, MA
Selected Group Exhibitions 2011 Art Complex Museum, More Back Forty, Craig Bloodgood, curator, Invitational, Duxbury, MA South Shore Art Center, Media Invention, Invitational, Cohasset, MA Art@12, Hot Wax, Cold Metal, Invitational, Boston, MA Heftler Gallery, Endicott College, Monday Editions, Kathleen Moore, curator, Beverly, MA McGladney Gallery, Luminous Landscape, Christina Godfrey, curator, Charlestown, MA 2010 Attleboro Arts Museum, Carry On, Mim Fawcett, curator, Attleboro, MA Kensington Stobart Gallery, Luminous Landscape, Invitational, Salem, MA 23 Sandy Gallery, Book Power, Laura Russell, curator, Portland, OR 2009 Thayer Academy Gallery, Thayer Academy, Women Who Travel, Invitational, Esther Maschio, curator, Braintree, MA Art Museum Complex, Ancient Media N.E.W. Terrain, Craig Bloodgood, curator, Duxbury, MA The Revolving Museum, Show and Tell: The Art of the Narrative, Elaina Bates, curator, Lowell, MA Montserrat College of Art, Luminous Landscape, Beverly MA 2008 Malone Gallery, Troy University, Further: Printmaking on the Edge, Scott Betz curator, Traveling Exhibition, Troy, AL Wedeman Gallery, Lasell College, Shelter, Janine Wong, curator, Boston Book Arts Traveling Exhibition, Pyramid Atlantic, Silver Spring, MD, Rhode Island School of Design, Providence, RI, Montserrat College of Art, Beverly, MA, Wells College, Aurora, NY Mohr Gallery, Community School of Music and Art, Conceptually Bound 3, Nanette Wylde, curator, Mountain View, CA Amelie Gallery, 2nd International Printmaking Exhibition, Invitational Traveling Exhibition, Peter MacWhirter, curator, Bejing, China Art Museum Complex, Artists and Books, Craig Bloodgood, curator, Duxbury, MA Time Warner Gallery, Luminous Landscapes, LynnArts, Lynn, MA Barrington Center for the Arts, Field Report, Boston Printmakers Traveling Exhibition, Wenham, MA 2007 University Art Gallery, California State University, Conceptually Bound 3, Nanette Wylde, curator, Chico, CA Mariani Gallery, University of Northern Colorado, The Electronic Art Show, Anna Urslyn, curator Greeley, CO SAC Gallery, Stony Brook University, 450 Women Have Been Murdered in Ciudad Juarez, Keith Miller, curator, Stony Brook, NY John Curtain Gallery, ArCade V: Biennale of Electronic Arts, Invitational, Sue Gollifer, curator, Perth, Australia Woman Made Gallery, 15th Anniversary Exhibition, Work by artists who have juried previous exhibits, Beate Minkovski, curator, Chicago, IL South Shore Art Center, Women Who Travel, Invitational, Esther Maschio, curator, Cohasset, MA Art Museum Complex, Complex Women, Work from the museum’s permanent collection, Catherine Mayes curator, Duxbury, MA Galletly Gallery, New Hampton School, Encaustic II, New Hampton, NY North River Arts Center, DarkLIGHT, Invitational, Marshfield, MA Dalarnas Museum, Falun Triennial - Contemporary Print Art, Anne Seppanen curator, Falun, Sweden 2006 Louisville Visual Art Association, Passion & Process: Impressions from America’s Master Printmakers, Brian Jones curator, Louisville, KY Fiber Arts Center, Small Works: Spirits and Shrines, Sharon McCarthy curator, Amherst, MA Winston Salem State University, Further: Artists from the Book “Printmaking at the Edge”, Scott Betz curator, Invitational Traveling Exhibition SIGGRAPH Art Gallery, Intersections, Boston, MA 119 Gallery, New Volumes: Contemporary Artist’s Books, Maxine Farkas curator, Lowell, MA Turchin Center for the Visual Arts, Reflections on a Legacy: Vitreographs from Littleton Studios, Boone, NC Susan Hensel Gallery, India in America: stories of new lives, Minneapolis, MN Towne Gallery, Wheelock College, Abstraction Through the Lens, Erica Licea-Kane curator, Boston, MA Women’s Studies Research Center at Brandeis University, Vital Voices: Women’s Visions, Waltham, MA Danforth Museum of Art, Boston Printmakers, The New Landscape: Alternative Approaches, Catherine French curator, Framingham, MA Mayyim Hayyim Living Waters, everything begins in the water, Abigail Ross and Judi Rotenberg curators, Newton, MA 2005 Attleboro Museum of Art, Merge [art & artist’s books], Dore Van Dyke curator, Attleboro, MA Boston Graduate School for Psychoanalysis Gallery, Myth Dream Fantasy, Boston, MA McKissick Museum, University of South Carolina, Book Arts, Invitational Traveling Exhibition Harvard University, Holyoke Gallery, WCA Small Works, Cambridge, MA Boston University 808 Gallery, Boston Printmakers 2005 North American Print Bienniel, Boston, MA 2004 Wexford Art Center, 9th Wexford Artists” Book Exhibit, Invitational, Traveling Exhibition, Wexford, England Art Complex Museum, Time Remembered/ Time Past, Boston Printmakers, Duxbury, MA Artspace, Life by the Book, Invitational, Stephanie Nace, curator, University of Virginia, Charlottesville, VA Boston Arts Academy, Rise, Guy Michel Telemaque curator, Boston, MA 2003 Digital Art Gallery, D-Art 2003, Information & Visualizations IV, London, England The St. Louis Artists’ Guild, Under Cover A Book Arts Exhibit, Invitational, Saint Louis, MO Siggraph 2003, Invitational, San Diego, CA The Art Gallery at FGCU, Re-Vewing the Art: The First Five Years, Invitational, Ft. Myers, FL Pajaro Valley Arts Council, Transitions to Digital 2003, Invitational, Watsonville, CA Perkins Gallery, Striar Jewish Community Center, The Power of Words, Newton, MA Rivier College Art Gallery, The Shape of Content: Artists’ Books, Juried, Nashua, NH 808 Gallery at Boston University, Boston Printmakers 2003 North American Print Biennial, Juried, Boston, MA University of Brighton Gallery, Arcade iv, Invitational, Traveling Exhibition, Sue Golifer, Curator, Brighton, England (Sheffield Hallam University, Sheffield, UK, University of Central Lancaster, Lancashire, UK, Copenhagen Business School, Denmark) 2002 California Polytechnic University, Digital Atelier/ Digitally Propelled Ideas, Invitational, Pomona, CA Kemper Gallery, Kansas State University, International Collage Exhibition, Invitational, Manhattan, KS Coyote Gallery, Butte College, Conceptually Bound, Juried, Oroville, CA Washington Printmakers National Small Works 2002, Juried, Washington, D.C. ArtBits Digital FineArt Printmaking, Invitational, Vienna, Austria Kniznick Gallery,, Women’s Studies Research Center, Brandeis University, Claiming the Spirit, Juried, Wlatham, MA Space Saint Martin, The 9th International Exhibition of Contemporary Collage, Invitational, Paris, France University of Wyoming Art Museum, MAPC, Mixed Metaphors, Invitational, curated by Cima Katz, Laramie, WY University of Saint Francis, Midwest Computer Art Exhibition, Invitational, Fort Wayne, IN University of Wyoming Art Museum, MAPC, The Liquid Language of Artist’s Books, Invitational,co-curated by Karen Kunc and Bob Ebendorf, Laramie, WY American Print Alliance, September 11 Memorial Portfolio, Invitational, Traveling Exhibition 2001 bitforms, Inagural Show, Invitational, New York, NY University of Brighton Gallery, Arcade III, Juried Traveling Exhibition, Brighton, England (Glasgow School of Art; Grays School of Art, Aberdeen; Surrey Institute of Art & Design; New Greenham Arts Centre, Berkshire, London Guildhall University, London England, Russia) SomArts Gallery, The Impact of YLEM:20 years of Art Science and Technology, Juried, San Francisco,CA Core Gallery, Paste and Pixels, New Paltz, NY Anderson Gallery, Photo > Art, Bridgewater State College, Bridgewater, MA Nan Mulford Gallery, Gallery Artists, Invitational, Rockport, ME Attleboro Museum, Lenticular Prints, Invitational, Attleboro, MA Brush Gallery, The 3rd Dimension in Print, Invitational, Lowell, MA Horn Gallery, Sorenson Center for the Arts, Babson College, Computer Art, Invitational, Wellesley, MA Blizzard Gallery, Springfield College, Opression: Contemporary Images of Intolerance, Invitational, Springfield, MA Beecher Center for Technology in the Arts, Butler Institute, First Digital Art Exhibition, Youngstown, OH Boston University, Boston Printmakers, 2001 North American Print Exhibition, Boston, MA 2000 American Print Alliance, On/ Off/ Over the Edge, Juried, Traveling, University of Nebraska at Kearney, NB; Northwest Print Council Gallery, Portland, Oregon; Bookwalter Winery, Richland, WA; Cape Cod Com. College W.Barnstable, MA; University of Florida, Gainesville, FL; Lane Community College, Eugene, OR Nan Mulford Gallery, Gallery Artists, Invitational, Rockport, ME University of South Florida, HomeoStatic, An Exchange Portfolio of Contemporary Artists, Invitational, Tampa, FL, Traveling to University of Minnesota/ Morris; University of Wisconsin; University of Miami; Iowa State University; University of Louisiana; Boston University; DeCordova Museum, Celebrating Contemporary Art in New England: Recent Acquisitions, Lincoln, MA Scarfone/Hartley Gallery University of Tampa, Electronics Alive, Invitational, Tampa FL The Visual Arts Museum, Seventh New York Digital Salon, Juried, Traveling to Circulo de Bellas Artes, Madrid, Spain; Palacio de Santa Cruza, Valladolid, Spain; Malaga Centro de Cultura, Malaga, Spain 1999 Wellesley College, The Digital Muse, Invitational, Wellesley, MA The Print Center, Digital Press: Artists Exploring New Technologies, Invitational, Philadelphia, PA Colville Place Gallery, GAMUT, Invitational, London, England The Photographic Resource Center, Celebrating New Technologies, Boston, MA The Boston Printmakers 1999 North American Print Exhbition, Boston University, Boston, MA Ben Shahn Galleries, The Digital Canvas, William Paterson University, Invitational, Wayne, NJ 1998 Newton Art Center, Icons + Altars, Invitational, Newton, MA Dimock Gallery, George Washington University, From the Digital Atelier, Washington, DC Randolph Associates Gallery, life, death, memory & existence, Invitational, Belmont, MA Agart World Print Festival 1998, Ljublijana, Slovenia DNA Gallery, Subtext, Invitational, Provincetown, MA Pacific Lutheran University, Women in Media, Invitational, Tacoma, WA Richard Stockton College, Art Gallery, Alternative Prints,The Computer As An Artist’s Tool, Invitational, Pamona, NJ New England College Gallery, Memesis, Digital Explorations in Painting and Photography, Invitational, Henniker, NH 1997 Harbor Gallery, University of Massachusetts, fusion, Juried, Boston, MA Orlando Museum of Art, ART + Technology, Invitational, Orlando, FL Huntsville Museum of Art, TABES. Invitational, Huntsville, AL Silicon Gallery, Women’s Caucus for Art, Juried, Philadelphia, PA Graphic Studio USF, (Southern Graphics Council) Think It/Ink It. Invitational, Tampa, FL Bakalar Gallery, Massachusetts College of Art, North American Print Exhibition: Boston Printmakers 50th Anniversary, Juried, Boston, MA The Williams Gallery, Surfing the International Print World, Invitational, Princeton, NJ University of Brighton Gallery, Arcade II, Juried Traveling Exhibition, Brighton, England (University of Derby, Kensington & Chelsea College Art Gallery, Stoke City Museum and Gallery) The Art Center in Hargate, St. Paul’s School, Altered States, Invitational, Concord, NH 1996 Springfield Museum of Fine Arts, Recreating Myth: Art in the Computer Age, Invitational, Springfield, MA Belknap Gallery, Emerging Technologies/ Evolving Traditions, Mid America Print Council, Invitational,University of Louisville, KY Zoller Gallery, Penn State University, Elastic Visions, Invitational Traveling Exhibit, University Park, PA (Erie Museum, Portsmouth Museum) Digital Arts, Dorothy Simpson Krause and Bonny Lhotka, Frankfurt, Germany Palm Beach Photographic Museum, digital e-mage, Invitational, Palm Beach, FL SoHo Photo Gallery, 1996 National Photography Exhibition, Juried, New York, NY CeBIT, ReVision - das Anders-Sehen, Invitational, Hannover, Germany, Catalog 1995 Creiger-Dane Gallery, Digital Dialects, Invitational, Boston, MA School of Visual Arts, Digital Salon, Juried, New York, NY AS220 Center for the Arts, The Digital Show, Juried, Providence, RI Walt Whitman Cultural Center, The Book of Icons, Invitational, Camden, NJ Bitmovie ‘95, Juried, Riccione, Italy Computing Commons Gallery, Arizona State University, The World’s Women On-Line, Invitational, Tempe, AZ 1994 Sandy Carson Gallery, Unique Editions™: Digital Watermedia, Invitational, Denver, CO The Williams Gallery, Binary Visions, Invitational, Princeton, NJ The DeCordova Museum and the Boston Computer Museum, The Computer in the Studio, Invitational, Boston, MA, Catalog SIGGRAPH 94, Art and Design Show, Juried, Orlando, FL, Catalog, Slideshow, CDRom Bunting Institute, Radcliffe College, Converging Paths, WCA, Invitational, Cambridge, MA Ansel Adams Center for Photography, Digital Masters, Invitational, San Francisco, CA 1993 Minneapolis College of Art, The Art Factor: International Exhibition of Electronic Art, In conjunction with FISEA 93, MN, Catalog Ansel Adams Center for Photography, Breaking Down Walls, San Francisco, CA Works on Paper, In conjunction with SIGGRAPH 93, Anaheim, CA Mercer Gallery, Electronic/ Mail Art, MONTAGE 93 International Festival of the Image, Rochester, NY 58th Annual ANNUAL, Cooperstown, NY Bromfield Gallery, Process and Product: Photographic Images 1993,Boston, MA Orange Coast Photo Gallery, From Today Photography is Dead, Costa Mesa, CA South Shore Art Center, Bits and Pieces: Artists Using Computers, (Curator and participant), Cohasset, MA CyberSpace Gallery LANAF, New Art Exhibit, West Hollywood, CA 1992 pARTs, An Alternative Artspace, Columbus Quincentennial, Minneapolis, MN South Bend Art Center, Her Art Works, South Bend, IN Ceres Gallery, Fates of the Earth, NY, NY The Computer Museum, Toys and Tools: The Amazing Personal Computer, Boston, MA Emporia State University, Women’s Diverse Reflections, Emporia, KS 1991 A.I.R. Gallery, Choice, NY, NY HERA Gallery, Grieving, Wakefield, RI Maryland Art Place, DADA/DATA: Developing Media Since 1970, Baltimore, MD Red Horse Gallery, Women on Women, 4 Person Exhibition, Taft, CA Boston Visual Artists Union, Federal Reserve Bank, Prismatic, Boston, MA Cornerstone Gallery, First National Open, Falls Village, CT Womankraft, One Canvas/ One Planet, Tuscon, AZ Visual Studies Workshop, Northeast Regional Electronic Arts, Rochester, N Y Lubbock Fine Arts Center, Illuminance ‘91, Lubbock, TX Women’s Caucus for Art/ Artists Foundation, Intimate Perspectives, Boston, MA
Publications and Presentations 2011 Boulanger, Susan. “Dorothy Simpson Krause: Visions”, Art New England, Vol 23, Issue 4, July/ August 2010, p 63 Pulin, Carol. “Digital Printmaking: Place, Time, Vision”, Contemporary Impressions: The Journal of the American Print Alliance. Vol 19, No 2, Winter 2011, pp 12 - 15 Dog Eared Magazine: A Journal of Book Arts, Issue 17, Paper, Kerrie Carbary, Editor, pp 3, 12 2010 Rooney, E. Ashley. 100 Artists of New England, Schiffer Books, 2011 Bloom, Susan. Digital Collage and Painting, Focal Press, Burlington, MA 2010 , pp 30 - 37 Davenport, Tonia. Mixed-Media Paint Box, North Light, Cincinnati, OH, 2010, pp 32 - 33 Kirby, Sarah. “Book + Art: Handcrafting Artists’ Books” Printmaking Today, Cello Press, UK, Sprint 2010, p 42 Lhotka, Bonny, Karin Schminke, Dorothy Simpson Krause. “A Cross Country Digital Collaboration”, The Boston Printmakers, Spring 2010, p 3 2009 Hamner, Karen. “Marking Time”, Bound & Lettered, Fall, 2009, pp 22-25 Pulin, Carol. “Prints & Politics: One World”, Contemporary Impressions, Fall - Winter, 2009, pp 22 - 23 Miller, Alice B. “Pushing Boundaries: Dorothy Simpson Krause”, AfterCapture, August/ September 2009, pp 18 - 21 Krause, Dorothy. “The Making of Losing Ground”, Ampersand: Quarterly Journal of the Pacific Center for the Book Arts, Vol. 26, No. 4, Summer 2009, pp 10 - 13 Presentation, “Digital Atelier and the Digital Art Studio”, Monmouth University, Monmouth, NJ Krause, Dorothy. Book + Art: Handcrafting Artists’ Books, North Light, Cincinnati, OH, June 2009 Cyr, Lisa. Art Revolution, North Light Books, Cincinnati, OH, June 2009, pp 11, 144 - 147 Lee, Alison. Interview, Talking with Dorothy Simpson Krause, CraftCast
Awards/ Honors Marquis Who’s Who in American Art, Who’s Who of American Women, Who’s Who in America, Who’s Who in The World 2000 - present Xerox/ Tektronix Award, 2005 Digital Hall of Fame, FX Art and Design, Sweden IDAA Award, 2003, 2004 Arches/ Canson Master’s Circle Distinguished Art Educator Award, 2001 Kodak Innovator Awards, Eastman Kodak Company, Rochester, NY 2000 2000 Outstanding Artists and Designers of The 20th Century, IBC, Melrose Press Ltd, Cambridge, England Smithsonian/Computerworld Technology in the Arts Award, 1998 4th Annual Photo District News Digital Photography Award, 1998 SoHo Photo Gallery, 1996 1st Annual Photo District News Digital Photography Award, 1995
Museum Collections/ Public Art Projects Museum of Fine Arts, Boston, MA Dalarnas Museum, Dalarma, Sweden Smithsonian American Art Museum, Washington, D.C. Art Museum Complex, Duxbury, MA State Museum, Novorsibirsk, Russia Zimmerlie Museum, Rutgers University, New Brunswick, NJ Spencer Museum of Art, University of Kansas, Lawrence, KS The Decordova Museum and Sculpture Garden, Lincoln, MA Danforth Museum of Art, Framingham, MA Houghton Library, Harvard University, Cambridge, MA The Fine Art Museum at Western Carolina University, Cullowhee, NC The Boston Public Library, Boston, MA Savannah College of Art & Design, Savannah, Georgia University of Miami, Miami, Florida Swarthmore College, Swarthmore, PA University of Washington, Seattle, WA Carleton College, Northfield, MN Cornell University, Ithica, NY University of Florida, Gainsville, FL Wesleyan University, Middletown, CT Wellesley College, Wellesley, MA University of Alberta, Edmonton, Canada University of Notre Dame, Notre Dame, IN Federal Reserve Bank, Boston, MA, history murals Avenue of the Arts/ Trinity Place, Boston, MA, temporary exterior murals
Artist-in-Residence/ Visiting Artist Von Hess Visiting Artist, University of the Arts, Borowsky Center, Philadelphia, PA, 2007 American Academy in Rome, December 2005 Harvard Medical School, Countway Library, Boston, MA, 2005 Herman Miller, Holland, MI, October 1998 Littleton Studios, heARTland, Spruce Pine, NC, May 1998 Massachusetts College of Art, Beyond the Digital Print, Boston, MA, April 1998 Thunderbird Graphics, Everybody’s Tabernacle, Clearwater, FL, January 1998 Vinalhaven Press & Foundation, Work/Tank Think/Shop: Media for the New Millennium, Vinalhaven, ME, August 1997 Smithsonian American Art Museum, Digital Atelier: printmaking for the 21st century, Washington, DC, July 1997 Kodak Center for Creative Imaging, Camden, ME, 1994, 1991-92 (sabbatical)
Memberships The Boston Printmakers; American Print Alliance; Boston Book Arts; Photographic Resource Center; Women’s Women’s Caucus for Art (WCA); College Art Association (CAA); American Computing Machinery Special Interest Group, Graphics (ACM-SIGGRAPH); YLEM
Education Harvard University, Graduate School of Education, Postdoctoral Studies, 1980 Pennsylvania State University, Doctor of Education in Art Education, 1965-1968 University of Alabama, Master of Arts in Art Education, 1961-1962 Montevallo University, Alabama, Bachelor of Arts in Painting, with honors, 1957-1960
Appointments, Academic and Professional Massachusetts College of Art 1974- 2000: Emeritus Professor, Computer Graphics, Tenured (1985- 2000), Vice President, Administration and Finance (1982-1985), Dean, Graduate and Continuing Education (1975-1982), Associate Professor and Director of Graduate Programs in Art Education (1974-1975) Virginia Commonwealth University 1969-1974: Associate Professor, Tenured and Director of Graduate Programs in Art Education Herman Miller, Designer, Holland, MI Iris Graphics Inc., Corporate Curator, Bedford, MA Consultant to KODAK Concord Group, Burlington, MA Critics and Curators comments
Reviewing the show at Landing Gallery in Rockland, Maine, Susan Boulanger says: Krause, a longtime practitioner and innovator in digital printmaking, uses Coleridge’s renowned poetic fragment “Kubla Kahn, or a Vision in a Dream” to lend thematic unity to her multilayered, luminous meditations on light shadow, transition and persistence. ... Such retreats into the other-worldly provide one of our few consolations when facing nature’s encroachment on and inevitable conquest of human endeavor. Susan Boulanger, Reviewer, Art New England, July, 2011
Of her exhibit “Visions” at 571 Projects, Director, Sophie Bréchu-West says: “In this new body of work, Krause explores the surreal through images of abandoned and submerged worlds: thresholds combined with imagery of leaves and branches reflected on the surface of a pool of water. Taking inspiration from Thomas Coleridge’s haunting poem, “Kubla Khan, or, A Vision in a Dream, A Fragment” (1797), written after an opium-laced dream of an exotic and opulent palace, Krause’s work highlights the mystery of architectural space and light: doorways, windows, and hallways from which light either shines or recedes into blackness. Ethereal and menacing, her work conveys the poetry of space and light, alluding to spiritual transitions, and ultimately, life and death. As in Coleridge’s poem, beauty is underscored with violence, potential and real. These abandoned passages appear to be submerged below the reflective surface of water like the shifting memory of dreams, but also a statement about the impending disappearance of civilization as we know it, through the effects of global warming.” Sophie Bréchu-West, Director, 571 Projects, March, 2011
IIn “Three Must-See March Art Shows in Chelsea”, Seth Apter says of Krause show”Visions”, at 571 Projects: “Krause combined digital technology with mixed media to create a series of haunting images of submerged architectural passageways, lit from within. Her use of Polaroid emulsion transfer, silver leaf, fresco, and brushed aluminum contributes to the dream-like feel of her paintings.” Seth Apter, NearSay, March, 2011
In her essay for the book Digital Atelier, (2009) reprinted in Contemporary Impressions in 2011, Carol Pulin said: “Dot concentrates on vision. She explores the physical and metaphorical connections between light and vision–light needed for illumination, reflection for contemplation, perception for seeing. Many of Dot’s prints incorporate scans from her own journals and ephemera from her travels, old family photos and handwritten, printed or stamped text. Her journeys seem to question the recording of events between birth and death, while her emphasis is on the interpretation of what appears in those records. It is the response to experience that matters, the attempt to understand the past as well as foreign cultures and perspectives, more than the exotic sights. Dot frequently employs the format of a book, determining the narrative order of the images, forcing the viewer to follow the artist’s path, to share her viewpoint. Adding the intimacy of a book, touching pages that convey the feeling of rich, precious objects or worn and abraded surfaces, intensifies the experience. The details of the imagery become a language, an attempt to translate from visual to intellectual experience, to show the viewer what the artist’s mind sees.” Carol Pulin, Director of the American Print Alliance and Editor, Contemporary Impressions, 2011
In her article for AfterCapture, “Dorothy Simpson Krause Pushing Boundaries”, Alice B. Miller said: “By merging trail-blazing techniques and technologies with traditional processes, and dovetailing a passion for her craft with a willingness to impact issues of the day through her art, Dorothy Simpson Krause has elevated pushing boundaries and protecting our planet to a fine art.” Alice B. Miller, AfterCapture, August-September, 2009
Reviewing the exhibition Losing Ground at the South Shore Art Center in Cohasset, MA, Sarah E. Fagan said: “Her large format works are made with laser printers, which help Krause print on materials like aluminum, an awkwardly elegant compliment to her natural scenes. Organic and mechanical combine fittingly in Krause’s bound pieces as well: lasers cut into wooden covers, copper plates are burnt and etched. The machine-made imprints offer an air of permanence; the words “LOSING GROUND” stamped in heavy-handed text across a glowing cover scene of the title book remind us of the irrevocable imprint humans make on the environment. This scene, like all of the chosen work, contains a metallic glow, both beautiful and apocalyptic. The show has been called a “plea” to make permanent the potentially ephemeral and ephemeral the potentially permanent, and the combined use of digital technologies and the handmade imparts a bewitching solemnity to the entreaty.” Sarah E. Fagan, artscope, May-June, 2009
Reviewing the exhibition “Conceptually Bound” at the Mohr Gallery, Mountain View, CA, Julia Bradshaw said of the book Magdalene Laundries: “Dorothy Simpson Krause used a small news item and a film as the spark for her project. A small dense book bound using a black leather Coptic binding with red leather accents, hand-sewn headbands and papyrus pages treated with a variety of collage and drawing methods, Krause has created a precious item that at first sight appears to be a hymnal or a bible. Krause’s book ‘Magdalene Laundries’ was inspired by her learning that in 1993 when property held by the Sisters ofCharity in Dublin was to be sold, unmarked graves of 133 women were found. Each page of this thick, intense book is hand-inscribed or hand-printed with text or facts or makes use of found photographs to express the poignant histories of some of the girls who were imprisoned against their will. In its entirety, the book feels like a prayer to the God of Never-Again.” Julia Bradshaw, ArtShift San Jose: Cultural Tectonics and View from the Fault Line, 2008
Reviewing the exhibition Viewpoint at Judi Rotenberg Gallery on Newbury Street, Boston, Cate McQuaid said: “Dorothy Simpson Krause is one of Boston’s pioneers of digital art. She founded the Computer Arts Center at Massachusetts College of Art and cofounded the collaborative Digital Atelier . Her trademark is her willingness to experiment with technique and process; it seems she’s always doing something new. At the same time, the content of her work grows satisfyingly sparer, leaving more and more room for a viewer’s imagination.
“Viewpoint,” her gorgeous new show at Judi Rotenberg Gallery, features images of the marshes and beaches near her home in Marshfield -- contemplative places for her, and fragile environments. She prints photographs on Plexiglas and mounts them over paintings, over panels coated with silver leaf, or over aluminum. There’s often layering: “The Shed Out Back” sports a photo of a red shed printed on one side of the plexi; Krause has printed images from an abstract painting, looking like branches, on the reverse side. It is mounted over a white panel.
With translucent and reflective materials, it’s as if the artist is layering light. Walk past “Gate to the Dunes,” a photo mounted over silver leaf, and the ex- perience of looking at it changes as shadow and light waffle over the surface. Krause imparts the idea that nothing -- the gate, the dunes, the shed -- is solid, and everything is a mere shimmer in the imagination of the universe.” Cate McQuaid, Art Critic, The Boston Globe, 2007
In the catalog for “Further - Artists from the book Printmaking at the Edge”, Sabrina DeTurk, writes: “Dot Krause holds a respected place in the history of American printmaking as one of the first print artists to embrace the possibilities inherent in digital technology. It is fitting, therefore, that her contribution to this portfolio should bear the title Technology and link together several motifs that have surfaced at various points in her work and career. The use of collage is a hallmark of Krause’s work and serves her well in its ability to simultaneously reveal and obscure multiple layers in a work of art. In this image, the dense bottom portion of the print includes images of a computer circuit board atop a dark background. This in turns gives way to red swath across the middle tier of the image and subsequently to a delicate anatomical drawing of the human nervous system and brain, highlighted against a pale background at the top. What is the role that technology is meant to play in this image and, perhaps, in our world as a whole? Does the circuit board serve as the base from which human and structure (represented by an architectural drawing lying grid-like across two-thirds of the print) emerge? If so, should that base be seen as generative? Or is it problematic - pushed to the depths while human cognition rises into the light? I doubt that Krause’s print is meant to answer those questions - rather, in keeping with the rest of her work, it encourages us to keep asking them.” Sabrina DeTurk, Curator, Winston-Salem, NC
“Her encaustic landscapes have an unusual surreal quality that captivates the viewer and deepens our appreciation for the grandeur of nature’s pristine quality. Her ability to merge luminous light and color to evoke a panoramic 3-dimensional framework is truly extraordinary.” Susan Halter, Director, LynArts, Lynn, MA
Of the page turning flipbook “Palimpsest”, Judith Hoffberg said: “You have now extended the definition of book to cyberspace with a vengeance! It is a delicious experience and I want to thank you for your beautiful effort. It works, it is dreamlike and real at the same time, and far from being virtual, it is quite real.” Judith A. Hoffberg, Editor, Umbrella
About the exhibition Passages at Judi Rotenberg Gallery, Cate McQuaid said: “Dorothy Simpson Krause has always created lush and varied surfaces for her digital prints. … Krause pares the imagery and ramps up the rich variety of surface, to wonderful effect. The images are still full of symbolic content, but here Krause offers just one potent one: the door. She travels the world photographing doors and gates. Krause prints the photos on aluminum or Plexiglas, sometimes layered over metal, sometimes coated with ink on the reverse. She’ll print over nails, grating and old metal; she adds paint, pencil marks, and scratches. Even so, my favorites are the simplest works: photos printed on brushed aluminum, with little or nothing added. The aluminum reflects light out at the viewer. Each doorway becomes a tense drama of light and dark. “Downstairs” has us looking up a flight of dingy stairs to a door; the sheen of light creates a palpable presence. In “Amber”, shot at the Amber Palace in Jaipur, India, the amber color looks like gold leaf. A window casts light onto the dark floor. Whether in a palace or a basement, Krause creates mystical rhythms of shadow and light.” Cate McQuaid, Art Critic, The Boston Globe, 2005
“So transportive are Dorothy Simpson Krause’s new digital collages, that the viewer is placed in the work, looking for their shadow in the richly patterned foreground, longing for something that cannot be put into words. Or perhaps it is in the artist’s shoes the viewer finds herself, walking sacred ground. Dorothy captures the fleeting essence of unadulterated nature, the rare patches of land where humans have only tiptoed and whispered, where the mass impact of our human existence has somehow been held at bay.
Sensitive to these fearfully brief passages, Dorothy has been working for two years to pay homage to the land and share the sadness that accompanies her appreciation. There is a tension between lush atmosphere and details as delicate as a butterfly wings. This feeling is captured by blending photography, paint, frescos, metal and graphite. The work is tinged with melancholy, knowing that we can hold these images only because they have been stopped in time. Dorothy’s newest project Fragile Beauty transforms landscapes into mindscapes. She has infused her most beautiful work with intense meaning.” Abigail Ross, Director/ Curator, judi rotenberg gallery LLC
“Few would associate computer graphics with opulence, but with regards to the art of Dorothy Simpson Krause, the adjective is hardly extravagant. Her richly layered works reveal not only successive strata of materials, but meaning as well.” Mary Ann Kearns, Director, 119 Gallery, Lowell, MA
“Dorothy Simpson Krause’s work shares much with contemporary artists involved with the appropriated image such as Dottie Attie, Sherry Levine, and Richard Prince as well as Robert Raushenberg and Kurt Schwitters. Working in these traditions she adds a poetic formal sensibility and a strongly personal approach toward the process of social inquiry.” Michael Shaughnessy, Director, Area Gallery, University of Southern Maine
“Krause has built up her surfaces to new levels of texture and density. While this aesthetic choice makes each artwork all the more material, the use of translucent wax also allows for the permeation of the solid substance with light. This literal illumination of matter has been a profound signifier of the spiritual throughout human history, understood and utilized by the makers of Byzantine mosaics and Gothic stained glass. By melding this near-alchemical formal tradition with her subtle collaged images, Dorothy Simpson Krause unifies not only this recent set of artworks, but also portrays a world of women bound together in light, in dignity, and in sanctity.” Nick Capasso, Associate Curator, DeCordova Museum & Sculpture Park, Lincoln, MA
“Her imagery is derived from numerous sources, many gender-related--women, their work and endeavors, their faith and spirituality, their contemplation. … Krause’s work is baroque in its intense coloration and chiaroscuro.” Norma S. Steinberg, “The Digital Print”, Contemporary Impressions: The Journal of the American Print Alliance
“In that complex weave of allegory and perception that forms human consciousness, many layers merge. That complexity is echoed in Dorothy Krause’s elaborate montages.” Bob Weibel, Photo District News
“The work is dominated by soft, overwhelming beauty -- young angels and goddesses surrounded in pinks and gold. But the beauty is rescued by spiritual- ism and the unknown. Justice has a swath of post-computer, blood-red paint applied over her eyes. It is such hand-of-artist surface markings -- painting, drawing and applied gold leaf -- that transport these images from staid elegance to urgent intensity .
Krause’s work also raises complex contemporary issues such as image/ cultural possession and hybridization. .. These elements are ripped from their context and used to create another reality.” Sharon L. Calhoon, DIALOGUE Arts in the Midwest
“With a wonderful sense of color which creates the atmosphere of calm and contemplation, she combines what is here and there ... transcendence - that which is indefinable, unrecognizable and does not have to be called in order to be.” Anna Panek Kusz, Curator, Gallery Okno, Slubice, Poland