October 1, 2024
Lindsay Buchman is an interdisciplinary artist, writer, and publisher living and working in Hudson, NY. Her work explores image-making and writing through print and lens-based media, artist books, and installation. Pivoting between text and image, she is primarily concerned with the intersections of language, intersubjectivity, and site to puncture a sense of concrete time and space—both cognitive and embodied. Buchman holds an MFA from the University of Pennsylvania and a BFA from California State University Long Beach. Exhibitions of her work include the LA Art Book Fair at The Geffen Contemporary, MOCA; New York Art Book Fair, MoMA PS1; Tokyo Art Book Fair, Museum of Contemporary Art Tokyo; SPRINT Milano, Spazio Maiocchi; and TILT Institute for the Contemporary Image. She has participated in artist talks and panels at the School of the Art Institute of Chicago, the Institute of Contemporary Art Philadelphia, and the International Center of Photography. Her work is included in the Rare Book Manuscript & Library at the University of Pennsylvania, the Amon Carter Museum of American Art, the New York Public Library, and SFMOMA. She is a recipient of the Toby Devan Lewis Fellowship and the Flaherty Fellowship, and her work has been featured in Hyperallergic and The Hopper Prize Journal. Buchman is a 2023-24 Keyholder Resident at the Lower East Side Printshop and a Visiting Artist-in-Residence at Skidmore College. As an extension of her practice, she runs an independent artists’ books and publications project, Seaton Street Press, to collaborate with artists through publishing and distribution.
While at IEA, I made several laser-cut woodblocks, experimenting with LPI for varying halftones and translations of photographic archives, as well as film and video stills. The blocks were printed on a wide range of thin papers to create large-scale wall installations with overlapping transparencies and 1/1 editions. Additionally, I printed oversized screen print flats and mono serigraphs for colorizing paper to print halftone images on top of, which will create two-color prints. I also made a 4-color, photographic laser-cut woodblock, which includes laser engraved typography on the paper margins; this edition was developed collaboratively with IEA and will be included in a 2025 SGCI folio organized by Kimiko Miyoshi and Tava Tadesco. The most important thing I accomplished while in residence was experimenting with photographic relief printing, something unfamiliar to my work, which revealed exciting possibilities for how my long-term project might continue to evolve.
Lindsay cleaning up ink on the AWT vacuum table, I.
Lindsay cleaning up ink on the AWT vacuum table, II.
92692, Four-color Woodcut with Laser-engraved Text Work Sample.