“The seeing eye is the important thing.”
— Imogen Cunningham
This hand-pulled letterpress print is printed from hand-lettered original typography and hand-drawn illustrations and patterns (in fact, everything was done by hand, the hard way!). This piece was created in honor of the vision of one of America’s greatest photographers.
Please note that the current inventory (11) consists of 1 numbered print and 10 APs or “Artist Proofs.” We determine our edition number before printing, but we always print a few more broadsides than we think we’ll need for the edition, in case of mishaps during the process. When the edition is finished, any extra prints that survive outside of the edition are signed and labeled with “AP” in place of a number. Because we wait to sell the APs until the rest of the edition is sold out, they are priced the same as the numbered prints. The first person to order this print will receive the numbered print; the APs will be sold after that.
Our 19th Dead Feminist broadside is a big departure from previous prints in the series. For the first time ever, the piece is printed on rich, deep black paper — which makes the brilliant metallic gold of the quote pop into focus. Surrounding the text is an intricate metallic silver filigree of spring botanicals and portraiture, creating a pastiche of the subjects of some of Imogen Cunningham’s most iconic photographs. In the eye of the storm of imagery is the all-seeing camera lens, looking out onto the world.
To help sharpen the seeing eyes of the artists of tomorrow, we donated a portion of our proceeds to Youth in Focus — a nonprofit that puts cameras in the hands of at-risk youth to “teach them how to develop negatives into positives.”
This poster was printed on an antique Vandercook Universal One press. Each piece is printed on archival, 100% rag (cotton) paper, and individually signed and numbered by both artists. This piece was printed in a limited edition, so once the edition sells out, it will not be reprinted. So snag your copy while you can!
Edition size: 147 + 20 APs
Paper size: 10 x 18 inches
Imogen Cunningham (1883 – 1976) graduated from the University of Washington in 1907, earning a degree in chemistry with her thesis on chemical processes in photography. Shortly afterward she was hired by photographer Edward Curtis, who taught her platinum printing and portraiture. She opened her own successful studio in Seattle, and published an article entitled “Photography as a Profession for Women.” In 1917, Cunningham and her husband and son relocated to California, where she gave birth to twin boys. Her children and the plants in her garden then became key subjects of her work. Her experiments with double exposure throughout the 1920s and 30s contributed to a growing appreciation of photography as art. She was a founding member of Group f/64, a collective of influential west coast photographers including Ansel Adams and Edward Weston. The group mounted a 1932 exhibition at the de Young Museum in San Francisco, united by a manifesto declaring “photography as an art form by simple and direct presentation.” Cunningham’s vision came through in both her personal and commercial work: unvarnished celebrity portraits for Vanity Fair; documentary street photography; nudes and botanical images — a lifetime of work that continues to challenge and intrigue viewers.
Illustrated by Chandler O’Leary and printed by Jessica Spring, grateful for artists who remind us to focus.
This original artwork is copyright Chandler O’Leary and Jessica Spring 2014. Copyright is not transferable with the sale of this print. The buyer is not entitled to reproduction rights.
WA state residents are subject to sales tax.
The print is packaged in a clear poly sleeve and will ship flat in a protective mailer, via USPS Priority Mail.