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Journey I, Minna Resnick, 1975, Brooklyn Museum: Contemporary Art

https://www.brooklynmuseum.org/opencollection/objects/103825

#minnaresnick #contemporaryart #brooklynmuseum #museumarchive

Minna Resnick

When I saw Minna’s work I found myself not only being interested in the technical aspects of the print but wanted to know more of the story behind them. I found myself imagining the different scenarios that might have inspired her.

Something Important digital background, acrylic ink, colored pencil 10 3/4” X 16 1/4” image on 15 5/8” X 20 3/4” paper

Think About What You Are Going To Do digital background, acrylic ink, colored pencil 24 1/4” X 16 3/4 image on 22 1/4” X 30 paper

History Can’t Be Rewritten digital background, acrylic ink, colored pencil 17 1/4” X 13 9/16” image on 22 5/8” X 18 3/4” paper

Inquiry digital background, acrylic ink, colored pencil 12 1/2” X 16 3/4” on 18 3/4” X 22 5/8”

Artist Statement:

My work has always focused on language. I believe that communication is elusive and dependent on historical and cultural contexts. Words and images that appear commonplace to one generation may be unfamiliar or unknown to another. I present this inter-generational mix-up by using images from early- and mid-twentieth century manuals on home management, decor, repair, health, etiquette and education with contemporary imagery from home photos and fashion magazines. I combine images from one era with another, or link them with diagrams, to encourage information displacement and disorientation, similar to information overload in today's easy data access. Remixing the narrative creates new associations and assigns new meaning, while, I hope, still retaining a sense of humor.

These digital and hand-drawn combination images are started in collaboration with the printer Tom Blaess, in his studio in Bern, Switzerland. We work together on creating a digital impression that would be a good beginning first layer to continue developing an image, which is then printed on printmaking rag paper in his print shop. I then bring that image back with me to my Ithaca, NY, studio, where I stare at each impression for some time, thinking about how to resolve the work. Sometimes it comes quickly. Other times I go through many trials before a resolution becomes apparent. All images are unique.

- Minna Resnick

www.minnaresnick.com [email protected] www.tomblaess.com www.gallery72.com

#printmaking #postdigital #postdigitalprintmaker #postdigitalprintmaking #minnaresnick #tomblaess #ipcny

Journey I, Minna Resnick, 1975, Brooklyn Museum: Contemporary Art

https://www.brooklynmuseum.org/opencollection/objects/103825

#brooklynmuseum #contemporaryart #museumarchive #minnaresnick

Observer V, Minna Resnick, 1979, Brooklyn Museum: Contemporary Art

https://www.brooklynmuseum.org/opencollection/objects/107409

#brooklynmuseum #minnaresnick #contemporaryart #museumarchive

Stage Spirits II, Minna Resnick, 1978, Brooklyn Museum: Contemporary Art

https://www.brooklynmuseum.org/opencollection/objects/105090

#museumarchive #brooklynmuseum #contemporaryart #minnaresnick

Observer IV, Minna Resnick, 1979, Brooklyn Museum: Contemporary Art

https://www.brooklynmuseum.org/opencollection/objects/107362

#minnaresnick #brooklynmuseum #contemporaryart #museumarchive

Twas a long, fun week helping visiting artist Minna Resnick make an edition of prints! #printmaking #printmaker #unt #northtexas #minnaresnick #denton #dentontx #lithography #lithograph #photolitho #takachpress @takachpress https://www.instagram.com/p/B2sDQXnllSC/?igshid=1es7qbuzqilzu

#printmaking #printmaker #unt #northtexas #minnaresnick #denton #dentontx #lithography #lithograph #photolitho #takachpress

About Minna Resnick

By Lawrence Nassau

In academia, instructors live by “publish or perish,” the imperative to get papers published in journals in order to thrive in their careers. For art instructors, the corollary may be “exhibit or expire.” As the Ithaca-based Minna Resnick has solidly constructed an online survey exhibition of her prints and drawings on her web site, she is sure to continue thriving in her career as an artist and art educator.

In much of her work during the past 14 years, Resnick has been harmoniously super-imposing images upon other images. Some of the images have been sourced from vintage printed matter (including wallpaper), and others are drawings or prints of drawings, which often originate from photographs she'd taken. At times, Resnick makes use of existing photographs, including those from her own photo collection. As one regards Resnick's compositions, Sigmar Polke and Francis Picabia come to mind. Additionally, her tendency to comment on the female condition reminds one of the collages of Alexis Smith.

Threads of several themes may be detected across the many series of works that Resnick has done. The relationships between girlhood and womanhood and between innocence and maturation are seen in many works. Coupled with works that depict flora with fauna - typically birds - Resnick appears to be postulating that it's nature's way for each creation to exist and co-exist. However, she does not appear to allow for the relationships between life forms to go unquestioned, as her juxtapositions of females and males elliptically point to how archaic assumptions and situations were for females in previous times. The message is subtle, and the way that images are interwoven suggests that an engagement exists between life forms - girls and women, boys and girls, men and women, humans and flora/fauna, etc. By working in traditional ways and by taking an array of contemporary approaches in expressing her visual hypotheses, Resnick seems to be demonstrating her belief that the past and the present are dynamically intertwined, as well. Whether or not progress - whatever that may mean - has been made, she leaves it for the viewer to decide.

On her web site, Resnick has posted a curriculum vitae and a selection of statements, which collectively function as a catalogue and an array of wall texts would in a gallery or museum exhibition. She sojourned in Northern California in the early 1970's, earning an MFA at San Francisco Art Institute and concurrently studying printmaking at California State University, Hayward. One might surmise that Resnick was highly aware of or participated in the pioneering feminist art discourse that was prevalent in California at the time. Resnick also describes in great detail the methods and materials she's employed in producing her work. Resnick's commitment to excellence and her drive to investigate and innovate become evident, as one regards the images of her work and assimilates them as one reads her studio testimonies.

Now, during Women's History Month, it is most fitting to examine and appreciate Resnick's many accomplishments. Her work is elegant and dynamic. Its visual cues are fluid. Its timelessness make it current and relevant. The presence that one senses in her online presentation prompts the question, "Where and how soon can one see Resnick's work in-person?"

NewYork, March 2018