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Mary Teichman received a BFA in painting and printmaking from the Cooper Union in 1976. After graduation she worked at Bob Blackburn’s Printmaking Workshop in New York City and soon after acquired a press and moved into her own studio on Union Square Park. In 1991 she moved her studio into a renovated factory building in New England.
Teichman has received many awards including The New York Society of Etchers, Recognition for Excellence; Society of American Graphic Artists, John Ross Award and the K. Caraccio Color Intaglio Purchase Award; Pen and Brush Annual Graphics Exhibitions, Anne Stele March Memorial Award; Pen and Brush Small Works Exhibition, Adela Lintelmann Memorial Award; Pen and Brush Graphics and Watercolor Exhibition, Elizabeth Fenn Memorial Award; Print Club of Albany, Artist Presentation Print and Purchase award; Boston Printmakers award; American Color Print Society Exhibition, Purchase prize and the Stella Drabkin Memorial Award; National Print Exhibition, E. Weyhe Gallery Purchase Award, among others.
The Brooklyn Museum, NY; Boston Athenaeum, MA; Museum of the City of New York, NY; New York Public Library Print Collection, NY; Corcoran Gallery of Art, Washington, DC; National Museum of Women in the Arts, Washington, DC; Museum of Art, Carnegie Institute, PA; National Taiwan Normal University, Taiwan; Cincinnati Art Museum, OH; Duxbury Art Complex Museum, MA; Jane Vorrhees Zimmerli Art Museum, Rutgers University, NY; Columbia Museum of Arts and Sciences, SC; Oregon Art Institute, OR; University of Minnesota, MN; University of Texas, TX; Wyomissing Institute of Fine Arts, PA; Janet Turner Print Museum, California State University, CA; among many others.
“My color etchings are triggered by things I observe: a color or texture, a slant of light--especially those that evoke memories. I am fascinated by the quality of light at night, and by the shapes emerging as my eyes adjust to the darkness. My layered technique, with its possibilities for rich color and dense blacks, lends itself easily to night scenes.
The four color (copper) plates are printed sequentially, ‘wet on wet,’ producing secondary colors as well as browns and grays. The ink is pressed under great pressure into the fibers of the dampened paper, resulting in rich, dense colors with a look that is unique to this medium. I work on the color as I see the proofs, re-etching, scraping and burnishing until I’ve achieved the colors I desire. Each plate has a full range of values, from light to dark, and when overlapped the diversity of color is virtually limitless.
Through the years, my images have evolved from still lifes and interiors, to city scenes, and after my move to western Mass., to landscapes, and factory buildings like the one that houses my studio. I am interested in history, change, light and mystery. The crumbling factories represent a bygone era, a reminder of both its majesty and despair.”
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