Elements of an Ephemeral Archive
The Work of Lynne Avadenka
November 2, 2024 - December 19, 2024
S-R Gallery,
9301 Kercheval Ave, Suite #1
Detroit, MI 48214
Artist Bio
Lynne Avadenka is an artist/printmaker known for her works that explore text and image, the physical and philosophical idea of the book and the mystery and beauty of visual language. Among her awards are a 2009 Kresge Arts in Detroit Fellowship and individual artist grants from the National Endowment for the Arts and the Michigan Arts and Culture Council. She is one of three co-directors recently awarded a grant from the National Endowment for the Humanities for a 2025 project.
Avadenka’s art is exhibited and collected internationally, including Bibliothecha Rosenthaliana, Amsterdam, The Netherlands; The British Library, London; The Cleveland Museum of Art; The Detroit Institute of Arts; The Flint Institute of Arts, Flint, Michigan; The Jewish Museum, New York; The Library of Congress, Washington, DC; The New York Public Library; The Meermano Museum, The Hague, The Netherlands; The Watson Library of the Metropolitan Museum of Art, New York; and her artist’s books can be found in over 50 Special Collections and University Libraries.
Lynne Avadenka served as Signal-Return Director from 2013 from 2024.
Instagram: @lynneavadenka
Closing Reception: December 19, 5-8pm
Prints available for purchase in store and online (click here to browse)
Cup of sugar
Detroit Design Month
September 26, 2024- October 26, 2024
S-R Gallery & PASC Gallery
9301 Kercheval Ave, Suite #1 & #2
Detroit, MI 48214
A collaborative exhibit between PASC and Signal-Return, centered around the people who work, represent, support, and create in these non-profit art incubators. This show will present artists with and without diagnosed disabilities alongside each other and spanning both organizations.
This exhibit is curated by Lynne Avadenka, former director of S-R, and Joel Grothaus, Studio Manager of Signal-Return; alongside Anthony Marcellini, Founder and Manager of PASC.
Participating artists: Lynne Avadenka, Emilee Bergum, Sherri Bryant, TomMarla Day, Chantell Donwell, Santina Dionisi, Ronald Griggs, Joel Grothaus, Carol Harris, Chloé Hajjar, Elaisha Hilliard, Lauren Hurst, Shawn Jackson, Taylor Jenkins, Morgan Knox, Dominick Lemonious, Hannah Lilly, Anthony Marcellini, Charles McGee, Keisha Miller, Amber Nax, Renata Palubinskas, Pat Perry, Suzy Poling, Rashaun Rucker, Thomas Saunders, Tylon Sawyer, Kevin Shureb, Todd Stevens, Aaron Taylor, Jeremy Taylor, Kristi Ternes, Sue Carman Vian, Renee Willoughby, and Eleni Zaharopoulos.
This exhibition is also a prelude to a print project Signal-Return has initiated with PASC artists Sherri Bryant, Chantell Donwell, Ronald Griggs, Shawn Jackson, Keisha Miller, Thomas Saunders, Aaron Taylor, and Jeremy Taylor, to premiere later in the Fall of 2024. More info on this project is forthcoming.
List of Work in S-R Gallery & PASC Gallery
Moving Type: Texture/Pattern/Geometry/Obsession
The Work of Ingrid Ankerson
July 12–September 13, 2024
S-R Gallery,
9301 Kercheval Ave, Suite #1
Detroit, MI 48214
Moving Type: Texture/Pattern/Geometry/Obsession
The Work of Ingrid Ankerson
July 12–September 13, 2024
S-R Gallery,
9301 Kercheval Ave, Suite #1
Detroit, MI 48214
Artist Bio
Ingrid Ankerson is an educator, letterpress printer, maker, and graphic designer in
Ypsilanti, MI. She has an undergraduate degree in Journalism from the University of
Wisconsin and a graduate degree in Creative Writing and Publishing Arts from the
University of Baltimore. She has worked as a web and print designer, writer, editor, and teacher since the early days of the internet. Today she is a full-time graphic design faculty member at Washtenaw Community College. She started pursing her passion for printing in 2016 after taking a letterpress workshop at Penland School of Craft.
@ingrid_ankerson
Artist Statement
I’m interested in the potential of typography using the “old school” method of
printing—that is, working with historic, movable type and the printing press—but in non-traditional ways. I use very small, metal pieces of type and the act of repetition and movement to create geometric shapes, textures, dimensions, and patterns. Each tinyletter is organized by hand on the bed of my press; I print what’s there, rotate the form in a tool called an angle chase, and print again. A single piece of paper may go through the press hundreds of times to achieve the resulting design.
Each print is made with 8 or 10 point Caslon, a typeface designed by William
Caslon (1692-1766) who was an English gunsmith, engraver, and type designer much admired by Benjamin Franklin. So much so, that Franklin chose one of Caslon’s designs as the typeface for the Declaration of Independence.
I see the work I do as a sort of collaboration between me, William Caslon, and the rich unknown history of whatever stories my collection of type and my press have printed. Sometimes when I am printing, I wonder if William Caslon would be standing next to me shaking his head or laughing with delight.
Let the Light In
"Before" Images: A Tale of Transformation
May 9–July 6, 2024
S-R Gallery,
9301 Kercheval Ave, Suite #1
Detroit, MI 48214