Flint Print Club
In 2007, the Flint Institute of Arts established the Flint Print Club. Its mission is to develop connoisseurship among its members and educate the general public about prints, printmaking and print collecting through its semi-annual Print Fair and annual print edition. The Club is limited to 100 members, so the edition is always limited to 100 signed and numbered impressions. Over the past thirteen years, the FIA has been fortunate to work with a slate of internationally recognized artists: Janet Fish, Richard Bosman, Gladys Nilsson, Mary Lee Bendolph, Marylyn Dintenfass, Sidney Hurwitz, Hunt Slonem, April Gornik, Karsten Creightney, Stanley Casselman, Catherine Kernan, and Jane Goldman.
Three of the past twelve years saw all 100 memberships purchased, but the other nine years still have prints available. To distribute the outstanding inventory of past commissioned prints, remaining editions are available for purchase at $500 for current Print Club members and $600 for non-members. There are a limited number of prints for each of these editions and these will be sold on a first-come, first-served basis while supplies last.
To inquire about available prints, please contact Cory Potter of the FIA Museum Shop at 810.237.7390.
Print Club Membership Form
Use this form to send in your membership by mail.
2019 Commissioned Print Artist
Each year, the Flint Print Club commissions an artist to produce a print to augment both the FIA’s collection and the pursuit of personal collecting. The club is limited to 100 members in good standing at the Family level or above. Flint Print Club dues are $250 annually, which provide each participating member with a selected print and related programs.
Joseph Drapell is the artist of the 2019 commissioned print. Born in Prague, Drapell has resided in Canada since leaving Europe in 1965. Since then, he has exhibited in more than 150 solo and group exhibitions and landed in over 50 major collections, including the Guggenheim Museum, the Museum of Modern Art, and The British Museum, London.
In Drapell’s early paintings, we can see the influences of Color Field painters Morris Louis and Kenneth Noland, who covered large canvases with vibrant colors in the shape of circles, chevrons and stripes. While his current works continue to include vast fields of color, a strong textural element was introduced in 1983. He began using a customized tool resembling a comb with curved teeth to drag through layers of thick acrylic gel overtop the ground of colored canvas. The corduroy-like textured lines would become a recurring feature in his paintings—even to this day—and play a major role in the compositions of his prints. Texture is naturally absent on the flat surface of ink on paper but the line work remains prominent, inspired by medieval engravings and the crosshatching of intricate lines on bank notes. Nonetheless, while the lines give his prints a sense of life, making the eyes move to every edge of the paper, Drapell never abandons those early influences of Color Field painting, making sure color and shape remain the star attraction.
Learn more about the artist and his work at drapell.com.
For more information about joining the Flint Print Club, please contact Valarie Bailie at 810.234.1695 or via email at email@example.com.
JOSEPH DRAPELL, CANADIAN, BORN CZECH REPUBLIC, 1940. ELECTRONS, 2019. DIGITAL PRINT. 22 X 31 INCHES.
Screenprint on paper
31 x 24 1/16 inches
Edition of 135
|Mary Lee Bendolph
Etching and aquatint on paper
15 1/2 x 14 inches
Edition of 100
|Hunt Slonem |
Lucky Charm 3, 2013
Screenprint on paper
26 x 18 inches
Edition of 100