OG’s of the outlaw printmaking scene, Huck, Hernandez, and Fick will field tough questions and gentle prods from one of their partners in crime, Kirsten Flaherty. We’ll learn how the most energized sector of the print world came to be, how they make stuff, and what new territories they are plundering.
Bill Fick is a printmaker who lives in Durham, North Carolina.
He is a Lecturing Fellow in the Department of Art, Art History and Visual Studies at Duke University where he teaches drawing, printmaking, comics and zines. He is also Co-Director of Super G Print Lab and Director the Zine Machine Printed Matter Festival also in Durham. His work has been exhibited from New York City to Seoul, South Korea and can be found in the collections of the St. Louis Art Museum, Harvard’s Fogg Art Museum, The New York Public Library and the Zimmerli Art Museum, Rutgers University. In 1993 Fick was awarded a National Endowment for the Arts Visual Artist Fellowship and in 1995 a North Carolina Arts Council Artist Fellowship. Fick is also co-author with Beth Grabowski of Printmaking: A Complete Guide to Materials and Processes published by Laurence King Publishing, London.
For the past 30+ years Fick has been making super-graphic narrative prints that deal with a variety of satirical and sociopolitical themes. He’s especially interested in making work that bridges the gap between fine art and lowbrow art.
His current work focuses on monsters, clowns, misfits and low-life, characters that reflect society’s ever-growing anxieties and insecurities. These images are presented in a variety of forms including prints, posters, and t-shirts.
The work of Houston-based serigraphy artist Carlos Hernandez has been showcased through a variety of gallery shows and projects that include the music industry, restaurant and retail design, and corporate work. Carlos is a founding partner of Burning Bones Press, a full-service printmaking studio located in the Hous- ton Heights and has served as an instructor of Screen Printing at Rice University, Department of Visual and Dramatic Arts.
Career highlights included serving as the 2019 Artist-In-Residence at the reknowned Hatch Show Print, which culminated in a show at the Haley Gallery; becoming a part of the print collection at The Smithsonian Institute; being tapped as the official commemorative poster artist for the Austin City Limits Music Festival; and his work with childhood idol and hot rod legend, Ed “Big Daddy” Roth.
Carlos’ work as a visiting artist has taken him to Pratt NY, Parsons NY, New York School of Art, IPCNY, Ft Wayne Art Museum, Harvard Art Museums, University of Minnesota, University of Wisconsin, Self Help Graphics- Los Angeles, Duke University, Frogman’s, Contemporary Arts Museum Houston, and more.
Corporate work has included Apple, Levis, American Express, Miller Brewing Company, Google, Lincoln Motor Company, Live Nation, New West Records, C3 Presents, Hohner USA, and more.
His work has been featured in the Communication Arts Typography annual, the Communication Arts Illustra- tion annual, and the book Mexican Graphics by Korero Books-UK. He has received awards from American Institute of Graphic Artists, American Advertising Federation, and the American Marketing Association.
Prints collected in: The Library of Congress, The Smithsonian Institue.
He is a member of the legendary Outlaw Printmakers and is a graduate of the Texas Tech Graphic Design Program.
As the current Associate Director of Pace Prints, Kirsten Flaherty has over a decade of experience working in print-related organizations across New York including the International Fine Print Dealers Association, IPCNY, and Dieu Donné Papermill. As a working artist, Flaherty focuses in mezzotint and etching. She has also taught numerous print demonstrations across the United States and sits on the Board of Directors of the New York Society of Etchers and Manhattan Graphics Center.
Tom Huck, also spelled Hück, (born 1971), is an American printmaker best known for his large-scale satirical woodcuts. He lives and works in Park Hills, Missouri, where he runs his own press, Evil Prints. His work is influenced by Albrecht Dürer, José Guadalupe Posada, R. Crumb, and Honoré Daumier. Huck’s woodcut prints are included in numerous public and private collections, including the Metropolitan Museum of Art, Whitney Museum of American Art, Library of Congress, Spencer Museum of Art, Nelson Atkins Museum of Art, Saint Louis Art Museum, Milwaukee Art Museum, Minneapolis Institute of Art, Art Institute of Chicago, Fogg Art Museum, Michael C. Carlos Museum, and New York Public Library.
Huck’s illustrations have appeared in publications such as The Village Voice, The Riverfront Times, and the Minneapolis City Pages.
Aside from creating woodcuts, Huck has also designed logos, posters, and apparel for musicians and organizations. Huck has created the artwork on posters, t-shirts, and ephemera for bands such as Motorhead, The Roots, and A Perfect Circle among others. In 2002 he designed the cover of The Roots’ album Phrenology.