Rhoda Rosenberg
Between Two Ends
01. O Mother, 1993, prints, drawing, collage, hand written text, 20.5 x 20.625 inches, $3500.00
02. Counting the Dead, 2022, intaglio, hand written text, 176 x 11.875 inches, $4000.00
Pedestal
03. Dear Mom, Love, Rhoda, 2020, relief cut, 22 inch diameter, $9000.00
Wall Shelf
04. For Julie, 2018, drawing, 6.75 x 7.75 inches, $350.00
05. Pink Circle, 2018, drawing, 7.5 x 8 inches, $350.00
06. Nothing, 2015, artist proofs, 7.5 x 10.25 inches, $300.00
07. Something, 2015, artist proofs, 7 x 11.25 inches, $300.00
08. Family Items, 2024, artist proofs, 6.75 x 10.125 inches, $300.00
09. Nate’s Eulogy for Dad, 2002, artist proofs, 6.375 x 9.625 inches, $400.00
10. Nate, 2020, artist proofs, 7.25 x 10 inches, $300.00
11. Berlin War Memorial for the Murdered Jews, 2020, drawing, 9 x 7.375 inches, $2000.00
12. Black Book, 2018, drawing, 6.25 x 5.125 inches, $350.00
13. Proof Book, 2015-22, artist proofs, 7 x 9.5 inches, $300.00
14. Proof Book, 2015-22, artist proofs, 9 x 11.5 inches, $300.00
15. Proof Book, 2015-22, artist proofs, 7.25 x 10.5 inches, $300.00
16. Proof Book, 2015-22, artist proofs, 7.125 x 9 inches, $300.00
17. Proof Book, 2015-22, artist proofs, 7.125 x 11 inches, $300.00
18. Proof Book, 2015-22, artist proofs, 7.25 x 9.875 inches, $300.00
19. Proof Book, 2015-22, artist proofs, 7.375 x 11.125 inches, $300.00
20. Proof Book, 2015-22, artist proofs, 7.75 x 10.75 inches, $300.00
21. Rejection Journal, 1993, collage, drawing, found book, 8 x 10.25 inches, $500.00
22. Proof Book, 2015-22, artist proofs, 6.25 x 9.375 inches, $300.00
23. Ovals in Envelopes, 2021, etching, 27.75 x 9.75 inches, $1000.00
24. Ash Wednesday, 1991, etching, relief, paint, hand written text, 10.75 x 8.75 inches, $750.00
25. Circle Book, 2018, collage, mixed media, 8.125 x 8 inches, $500.00
Table
26. Old Maid, 2008, etching, collage, storage box, 132 x 9.25 inches, $900.00
Wall Shelf
27. Hiding, 2018, drypoint, 11.5 x 8 inches, $500.00
28. Proof Book, 2018, artist proofs, 14.75 x 8.875 inches, $450.00
29. Scribbles, 2008, drypoint, 17 x 7.125 inches, $900.00
30. Bubbie’s Bag, 2018, monotype, etching, 10.375 x 9.25 inches, $550.00
31. The Human Condition, 2020, monotype, etching, collage, 9 x 9.25 inches, $2000.00
32. Scrap a Day, 2010, collage, 6.875 x 7.25 inches, $350.00
Table
33. Can You See?, 2020, collage, mirror, 45.5 x 8.125 inches, $600.00
34. In My Mother’s Words, 2015, etching, monotype, relief, collagraph, hand stamped text, 15.125 x 9.25 inches, $4000.00
35. Should/Shouldn’t, 2019, handmade envelopes, typed text, 7.25 x 5.375 inches each, $1800.00
36. Read Between the Lines, 2023, drypoint, altered found text, 97.75 x 7.125 inches, $2000.00
37. Hidden Text, 2015, etching, 10.625 x 5.75 x 22 inches, $300.00
Flat File
38. Lines a Day, 2015, print, drawing, 12.25 x 12.125 inches, $1000.00
Wall
39. Umbilicus, 2009, carborumdum intaglio, chine collé, wood cut, monotype, linocut, etching, drypoint, 1530 x 11 inches, $10,000.00
Rhoda Rosenberg: Between Two Ends
From the age of seven I knew I wanted to be an artist. I loved to paint and draw and am grateful to my parents, who never criticized or showered me with praise but let me follow my own path and instilled in me the ethics of work. I studied art at three schools, each one offering me something that I needed/wanted at that time. At The Pennsylvania Academy of Fine Arts, I studied painting and drawing working from models and still life, but I also became interested in Cubism and Pop Art which changed my work. I am still grateful that I have this strong background in drawing. I painted for several years and then stopped painting. I just didn’t know what to paint. What did I have to say? Finally, I got restarted by doing small watercolors and learned silk screen which led me to enroll in a class at Temple University in lithography and etching. The first time I pulled a print off an etching plate I was hooked. My imagery started to emerge through this process and has ever since.
I have always loved working with abstract forms. Whether a square, triangle, stackable forms, multi layered shapes or scribbles, all these are part of a composition and I have been drawn to composition because the particular way an object exists in its given space can have an emotional component.
Working with abstraction, I have always struggled with the meaning of my work, and I continuously ask myself what its content is. I’m not sure to this day if I have the answer but I know that it has informed the work I began to make about my family, objects from memory. My mother’s stockings and clothing, my grandmother’s pocketbook, my mother’s and father’s aprons and my brother’s glasses, although recognizable objects are, nonetheless, forms and shapes that I use in my prints and handmade books. I began making one-of-a kind books using my prints because I wanted to put many prints into a three-dimensional object that could have a narrative component. I introduced text, usually handwritten, and experimented with various bindings to connect to the content of the book.
I have been making prints since 1970 and to this day I am still inspired by what I learn. I use etching, monoprint, monotype, relief and collagraph in my prints and books. I love challenges, the intellectual and existential, the playful, feeling lost and then finding something just by doing, the discovery. After completing my MFA degree in printmaking at the Museum School I began teaching there, and have been on the faculty for the past 42 years. I enjoyed working and learning both from students, ages 18 to 80, and from other faculty but I am now ready to retire. I look forward to having more time for my own work and to teaching a few workshops at print studios.
Bio
Rhoda Rosenberg has been making prints since 1970, and has been teaching printmaking since 1982 at the School of the Museum of Fine Arts, Boston. She has had the honor on four occasions to be a Visiting Fellow at Artists Proof Studio in Johannesburg, South Africa. Rhoda Rosenberg’s printmaking has evolved over the years from an abstract focus on shapes to a focus on images of personal memory, such as her grandmother’s pocketbook and her brother’s glasses. Rosenberg has also made one-of-a-kind books because she wanted to create a three-dimensional object with prints that could have a narrative component. Those books include text, often handwritten, and have bindings that connect to the content of the book. Katherine French, Curator, Director emerita of the Danforth Museum of Art has observed, “Rhoda’s work is a lens through which she views her own past, one that is artistically complex and filled with intelligent emotion”. Rosenberg’s prints are owned by seven public collections, among them the Boston Museum of Fine Arts, Danforth Museum of Art, Framingham, and The Art Complex Duxbury and Artists Proof in Johannesburg, as well as by many private collectors. She has had 16 solo exhibitions, including Retrospective: Shapes of Time in 2023 at Concord Art and The Shape of Memory at the Danforth. Her work has been included in 60 group exhibitions nationally and internationally.