Lower East Side Printshop
Since 2009
Works in New York United States of America

PORTFOLIO (3)
BIO
The Lower East Side Printshop, established in 1968, is a New York City non-profit art center that supports contemporary artists of all creative backgrounds by offering them studio space, career services, and expertise in printmaking to develop new work. Artists can experiment, explore new ideas, and collaborate with experienced master printers to create important new work and broaden their practice in a supportive and professional environment. In addition, a diverse audience of art enthusiasts and professionals alike can learn about and collect prints in our classes, lectures, and exhibitions.

The Printshop is the largest openly accessible print studio in the city. It offers independent and collaborative residencies for artists, free and fee-based, contract printing services for small and large publishers, educational opportunities in all aspects of the print field and at all levels of expertise, and affordable collecting opportunities. The Printshop supports innovation and experimentation with the medium, and promotes non-toxic materials and processes.
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OPPORTUNITY

LESP Fall Class Catalogue


Deadline:
Mon Jul 23, 2012 13:00

Location:
New York, New York
United States of America

We are excited to announce that our new Fall Class Catalogue is now posted on our website and ready for registration! To register, please visit our website: http://printshop.org/web/Learn/Classes/Catalogue.html

RELIEF PRINTMAKING
with Justin Sanz
6 weeks, Wednesdays, 6-9pm
August 15 – September 19
$395

This course will introduce you to various methods of creating woodcut and linocut prints. This direct and versatile process is one of the oldest methods of printing. Learn how to prepare wood and linoleum blocks, carve images by hand, apply ink with rollers, and print by hand and on the press using oil based inks. Also covered will be methods for creating images with multiple blocks and colors, reduction printing, and alternative techniques.

INTRO TO PRINTMAKING
with Lisa Mackie
8 weeks, Mondays, 6-9pm
September 10 – October 29
Fee: $520

This course provides a broad introduction to 3 basic printmaking processes. Learn about intaglio techniques by creating a drypoint and etching, create unique prints with monoprint and carve blocks for relief printing. Important techniques used in all printmaking processes, such as paper tearing, ink modification, chine colle, registration, and printing multiple color plates, will also be covered.
* This class uses only Akua Water-based non-toxic inks.

INTAGLIO
with Erik Hougen
6 weeks, Thursdays, 6-9pm
September 27 – November 1
Fee: $395

Discover the diverse possibilities of intaglio, which can be used to create detailed images with a wide range of tones, lines, and textures. Techniques include etching, dry point, aquatint, soft ground, spit-bite and more. You will work with copper plates using etching tools, learn to print on an intaglio press, and explore variations of color printing.

WATERBASED SCREENPRINTING
with Roni Henning
6 weeks, Tuesdays, 6-9 pm
October 2 – November 6
Fee: $425

Explore the wide range of screenprinting techniques in this versatile medium. Silkscreen allows you to easily print hand-drawn, photographic, and digital imagery on paper, fabric, and other surfaces in a variety of colors. You will create handmade and photographic stencils and learn to use a vacuum table and exposure unit to shoot screens. Topics will include screen preparation, color separation for multi-plate prints, correct color mixing, registration, screen monoprinting, editioning, and basic methods of printing onto t-shirts.

SOLAR PLATE ETCHING
with Sheila Goloborotko
6 weeks, Mondays, 6-9pm
November 12 – December 17
Fee: $395

Solar plate is the safest and quickest method for creating photographic imagery in etching. Also known as photopolymer etching, this is an easy and innovative way to create intaglio and photo etchings without the use of acid and other harmful chemicals. Hand-drawn, photo-based, or digital images are exposed onto light-sensitive polymer plates, which are developed in water and printed on an etching press.
*This class uses only Akua Water-based non-toxic inks.


OPPORTUNITY

Everything Is Not All There Is


Deadline:
Wed Jul 18, 2012 06:00

Location:
New York, New York
United States of America

Everything Is Not All There Is
Curated by Nicole Caruth
Exhibition reception: Wednesday, July 18, 6-8pm

Exhibition Dates: July 11 – September 9, 2012
Hours: Weekdays from 10am – 6pm, and weekends from 12 - 6pm
Free and open to the public

Lower East Side Printshop presents Everything Is Not All There Is guest curated by Nicole Caruth, an independent art writer and curator. The exhibition will be on view at the Printshop from July 11 – September 9, 2012 with a reception on Wednesday, July 18 from 6-8pm.

Digital technologies are making it easier all the time to share and receive information. Yet our constant circulating of data obscures messages as easily as we can deliver them. Artists have and continue to probe this daily deluge of stuff to reveal more about contemporary communication and experiences than might be discerned through any interface. Everything Is Not All There Is consists of recent prints and drawings by Lower East Side Printshop residents Shanti Grumbine, Naomi Reis, and Julian Wellisz. Collectively, they explore newspapers, blogs, software, and structural designs. They trace flows of data, unveil unseen narratives, decode systems, and sift cultural memes. Their works speak to the vitality of the print medium (i.e. the analog) alongside newer modes of communication.

Shanti Grumbine cuts and reconfigures pages of The New York Times to lay bare the newspaper’s structure and “the aggressive order of the grid.” Her latest project Score (an extension of her earlier series Kenosis) follows the life of a certain news story each day all the way through to its end. She removes the text and images with an X-Acto knife and all headlines and pull quotes are erased. This act of, in the artist’s term, “excising” implies that the content is irrelevant. It also calls to mind the so-called death of print resulting from new devices and apps. But Grumbine says that with this method she “makes space for what has been censored in media as well as what is lost in the translation of experience into words.” She then uses the cut objects as negatives for her screen prints. To the Score pieces she has added a medieval four-line staff and clef, alluding to music composition. “Each score can be interpreted and performed as a chant in which media content is translated into the repetition of sound and breath.”

For her Ad Screen Test series, Grumbine superimposes her cut newspaper grids onto full-page advertisements for luxury goods and name brands such as Cartier, Bacardi, and Saks. The effect is comparable to the thin shadows of Venetian blinds, suggesting something semi-private or thinly veiled. In this, Grumbine seeks to “highlight the subtle dialogue between content, viability and corporate funding in printed media and journalism in general.”

Naomi Reis eschews text too, favoring instead the celestial. Her Untitled drawings, which are based on a 3D modeling program, “imagine a journey through an industrial wasteland of outdated technologies—dirigible hangers, the interiors of oil refineries—viewed as if through the lens of an airborne surveillance camera.” Fine and spiraling white lines on black paper read like the Milky Way—a majestic constellation within an abyss. The Untitled drawings are a delicate confluence of “abstract and realistic space, analog and digital techniques.”

Reis also finds inspiration in the visionary Buckminster Fuller. In another suite of drawings titled Broken Geodesic Spheres she reproduces Fuller’s iconic structure for the Expo '67 Montreal World's Fair. “Fuller's geodesic forms look as if they belong on the moon…and continue to fire the imagination long after their utility has faded,” says the artist. Reis sketched the form with a lightness that makes it appear capable of orbiting off the paper. Yet, as the title implies, there are small breaks, errors, in her versions. In the context of this exhibition, Broken Geodesic Spheres embody many different ideas about digital systems and globalization, the architectures of the web, and to the unknowns of future technologies.

Julian Wellisz surveys bizarre images in the blogosphere in his series .TUMBLR. For each of these silkscreen prints, Wellisz copies images from a single blog, primarily using those of teenagers. “The images in my work have been and will continue to be reused, reblogged, and recycled thousands of times,” says Wellisz. “The imagery addresses how seemingly infinite digital access has contributed to the youth’s loss of innocence and embrace of the grotesque.” Printed in columns, with one image stacked on top of another, each piece feels something like an Exquisite Corpse wherein different streams of consciousness connect, oftentimes resulting in eerie compositions.


EVENT

Editions '12


Dates:
Thu May 10, 2012 18:00 - Thu May 10, 2012

Location:
New York, New York
United States of America

EDITIONS '12
EXHIBITION OPENING AND CATALOGUE LAUNCH
Reception: Thursday, May 10, 6-8 pm

Exhibition Dates: May 10 - July 8, 2012
Hours: Monday – Friday, 10am-6pm; Saturday – Sunday, 12 - 6pm
Free and open to the public

Lower East Side Printshop is pleased to announce the EDITIONS ‘12: EXHIBITION OPENING AND CATALOGUE LAUNCH on Thursday, May 10. The exhibition will be on view at the Printshop from May 10 – July 8, 2012. With a catalogue essay by Roberta Waddell, a renowned print expert and former Curator of Prints at the New York Public Library, the catalogue and exhibition feature new works created by recipients of the Printshop’s Special Editions and Publishing Residencies: Hong Seon Jang, Jennie C. Jones, Darina Karpov, and David Kramer, and Enoc Perez.

The Special Editions Residency provides emerging artists with an opportunity to create a major new body of work in collaboration with Master Printers Erik Hougen and James Miller, fully sponsored by the Printshop. Hong Seon Jang, Jennie C. Jones, Darina Karpov, and David Kramer have all immersed themselves in printmaking for several months, exploring new materials and techniques that have broadened their practice. What followed were outstanding projects of conceptual and technical expertise that showcase the artists’ most ambitious print projects to date.

Enoc Perez created the Lever House suite through the Printshop’s exclusive Publishing Residency Program, also working with Dusica Kirjakovic, Erik Hougen, and James Miller. Continuing his exploration of modernist buildings and their architectural allure, both symbolically and aesthetically, Perez has revisited the distinguished New York City Lever House building as subject. Ultimately, these prints offer both a bold point of view and a sense of effortless completion.

The Printshop's residency programs offer opportunities to artists of all career stages to use professional facilities and collaborate with talented printers who approach each artist’s vision with great care and skill.

About the Artists
HONG SEON JANG (b. 1972, Seoul, South Korea; lives and works in Queens, NY) received his MFA from Rochester Institute of Technology and BFA from Dan Kook University. Select exhibitions include Islip Art Museum, East Islip, NY; Smack Mellon, Brooklyn, NY; Dumbo Art Center, Brooklyn, NY; Socrates Sculpture Park, Long Island City, NY; and David B. Smith Gallery, Denver, CO. He has participated in many residency programs and is the recipient of the Urban Artist Initiative Grant.

JENNIE C. JONES (b. 1968, Cincinatti, OH; lives and works in Brooklyn, NY) received her MFA from Rutgers, Mason Gross School of the Arts, and BFA from The School of the Art Institute of Chicago. Select exhibitions include Sikkema, Jenkins & Co, New York, NY; The Kitchen, New York, NY; The Studio Museum in Harlem, New York, NY; The Center for Book Arts, New York, NY; Yerba Buena Center for the Arts, San Francisco, CA; Atlanta Contemporary Art Center, GA; and forthcoming exhibitions at The Menil Collection, Houston, Texas and The Hirshhorn Museum and Sculpture Garden, Washing, DC. Jones is the recipient of grants from Creative Capital and The Pollock-Krasner Foundation.

DARINA KARPOV (b. 1973, St. Petersburg, Russia; lives and works in Brooklyn, NY) received her MFA from Yale University and BFA from Maryland Institute College of Art. Select exhibitions include Hales Gallery, London, England; Irish Museum of Modern Art, Dublin, Ireland; Daniel Weinberg Gallery, Los Angeles, CA; Lehman College Art Gallery, Bronx, NY; and Peter Fingesten Gallery, New York, NY. She is a recipient of The Pollock-Krasner Foundation Grant and is represented by Pierogi Gallery.

DAVID KRAMER (b. 1963, New York, NY; lives and works in New York, NY) received his MFA in sculpture from Pratt. His work has been the subject of national and international solo exhibitions including Galerie Laurent Godin in Paris, France; Aeroplastics Contemporary in Brussels, Belgium; Pierogi in Brooklyn, NY; Tom Jankar Gallery in Los Angeles, CA; Pollard + Mulherin Gallery in New York, NY; and Heiner Contemporary in Washington DC. He is the recipient of the New York Foundation for the Arts Grant Fellowship and The Pollock-Krasner Foundation Fellowship.

ENOC PEREZ (b. 1967, San Juan, Puerto Rico; lives and works in New York, NY) received his MFA from Hunter College and BFA from Pratt Institute. In 2007 he was the focus of a major survey exhibition at MoCA at Goldman Warehouse, Miami. He has exhibited in museums and galleries internationally, including the Centre Pompidou, Paris, France; The Collezione Maramotti, Reggio Emilia, Italy; the UCLA Hammer Museum, CA; The Aldrich Contemporary Art Museum, CT; and El Museo del Barrio, NY. Perez is represented in New York by Acquavella Galleries.

About the Essayist
ROBERTA WADDELL is an independent curator, a former Curator of Prints at the New York Public Library, and a member of the Print Council of America.

Lower East Side Printshop's programs have been supported in part by public funds from the National Endowment for the Arts, New York State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs in partnership with the City Council. Private supporters have included: Lily Auchincloss Foundation, Milton and Sally Avery Arts Foundation, Bloomberg Philanthropies, Greenwall Foundation, Jerome Foundation, New York Community Trust - Edward and Sally Van Lier Fund, PECO Foundation, Andy Warhol Foundation for the Visual Arts, and our generous patrons and members.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

This program is made possible with public funds from the New York State Council on the Arts, a state agency.

This program is supported in part by an award from the National Endowment for the Arts.

Special thanks to our Patrons:
Akua Water-based Inks, Laura and Lloyd Blankfein, Lisa Pevaroff-Cohn and Gary Cohn, Deutsche Bank, Peter Ezersky, Susan and Eddie Falk, Courtney Finch Taylor, Michael and Laura Fisch, Cheri Friedman, ICAP / John Nixon, Martin and Shelley Kaufman, John B. Koegel, Esq., Stacey and Curtis Lane, Stacy and John Louizos, Jill and Thomas Marino, Newmark Knight Frank/Jeffrey Gural, Jane Nixon, Andrew Charles Porter, Carla and Tim Porter, Jane Dresner Sadaka and Ned Sadaka, Mary and David Solomon, Cristin Tierney Gallery, and Volusion, Inc.

We thank our volunteers, friends, members, and patrons for their dedication, support, and generosity.


OPPORTUNITY

LESP Summer Class Catalogue


Deadline:
Tue Apr 17, 2012 11:55

Location:
New York, New York
United States of America

We are excited to announce that our new Summer Class Catalogue is now posted on our website and ready for registration.

The Printshop's classes for adults offer instruction in myriad printmaking techniques, traditional, as well as new and experimental. Our faculty is comprised of accomplished artists and experienced master printers with outstanding expertise in printmaking. They offer technical expertise, as well as creative advice for your new artwork. Our instructors will help you turn your ideas into quality prints. Our classes are appropriate for beginners who wish to discover the world of printmaking, as well as artists interested in exploring new techniques. Many of our courses can be repeated, as there is a great deal of one-on-one interaction with faculty.

SUMMER CLASS CATALOGUE

INTRO TO PRINTMAKING
with Lisa Mackie
8 weeks, Wednesdays, 6-9 pm
April 25 - June 13
Fee: $520

This course provides a broad introduction to 3 basic printmaking processes. Learn about intaglio techniques by creating a drypoint and etching, create unique prints with monoprint, carve blocks for relief printing, and make a plate using cardboard for collagraph. Important techniques used in all printmaking processes, such as paper tearing, ink modification, chine colle, registration, and printing multiple color plates, will also be covered.
* This class uses only Akua Water-based non-toxic inks.

INTAGLIO
with Erik Hougen
6 weeks, Tuesdays, 6-9pm
May 8 – June 12
Fee: $395

Discover the diverse possibilities of intaglio, which can be used to create detailed images with a wide range of tones, lines, and textures. Techniques include etching, dry point, aquatint, soft ground, spit-bite and more. You will work with copper plates using etching tools, learn to print on an intaglio press, and explore variations of color printing.

JAPANESE WATERBASED WOODBLOCK
(MOKU HANGA)
with April Vollmer
6 weeks, Thursdays, 6-9pm
May 24 – June 28
Fee: $395

Moku hanga, the traditional Japanese technique, allows you to print luminous colors with easy registration and without the use of solvents or a printing press. Learn how to transfer images, carve blocks and cut kento registration marks, make non-toxic waterbased inks from pigment, and print by hand with a baren. You will also learn to edition multi-color prints on kozo paper. This class is also suitable for those with previous experience in the medium.

WATERBASED SCREENPRINTING
6 weeks, 6-9pm
Fee: $425

Session I: Mondays, June 11 – July 16
with James Miller and Roni Henning

Session II: Thursdays, July 12 – August 16
with Roni Henning

Explore the wide range of screenprinting techniques in this versatile medium. Silkscreen allows you to easily print hand-drawn, photographic, and digital imagery on paper, fabric, and other surfaces in a variety of colors. You will create handmade and photographic stencils and learn to use a vacuum table and exposure unit to shoot screens. Topics will include screen preparation, color separation for multi-plate prints, correct color mixing, registration, screen monoprinting, editioning, and basic methods of printing onto t-shirts.

MONOTYPE
with Sarah Nicole Phillips
6 weeks, Tuesdays, 6-9pm
June 19 – July 24
Fee: $395

This comprehensive workshop will introduce you to one of the most liberating forms of printmaking, with an emphasis on experimentation and creativity. Learn to create innovative one-of-a-kind prints using drawing, painting and collage. Explore color mixing, brushwork, ghost images, chine colle, stencils and unique tools to create unique prints. We will pull highly developed monotypes by hand and with the aid of a press.
*This class uses only Akua Water-based non-toxic inks.

SCREENPRINTING INTENSIVE
with Roni Henning
5 days, Monday through Friday, 11 am – 5 pm
July 30 – August 3
Fee: $675

This intensive beginning workshop will introduce you to various screenprinting techniques. Ideal for those with tighter schedules and would like to focus on screenprinting in a concentrated week-long session. Print hand-drawn, photographic, and digital imagery on paper, fabric, and other surfaces in a variety of colors. You will create handmade and photographic stencils and learn to use a vacuum table and exposure unit to shoot screens. Topics will include screen preparation, color separation for multi-plate prints, correct color mixing, registration, screen monoprinting, editioning. and basic methods of printing onto t-shirts.

RELIEF PRINTMAKING
with Justin Sanz
6 weeks, Wednesdays, 6-9pm
August 15 – September 19
$395

This course will introduce you to various methods of creating woodcut and linocut prints. This direct and versatile process is one of the oldest methods of printing. Learn how to prepare wood and linoleum blocks, carve images by hand, apply ink with rollers, and print by hand and on the press using oil based inks. Also covered will be methods for creating images with multiple blocks and colors, reduction printing, and alternative techniques.

For more information on the classes offered at LESP and registration, visit our online Class Catalogue: http://printshop.org/web/Learn/Classes/Catalogue.html


EVENT

Divergence


Dates:
Wed Apr 25, 2012 18:00 - Wed Apr 25, 2012

Location:
New York, New York
United States of America

Divergence
Curated by Rachel Gladfelter
Reception for artists: Wednesday, April 25, 6-8pm

Exhibition Dates: March 12 – May 7, 2012
Hours: Weekdays from 10am – 6pm, and weekends from 12 - 6pm
Free and open to the public

Lower East Side Printshop is pleased to present Divergence with a reception for artists on Wednesday, April 25 from 6-8pm. The exhibition will be on view at the Printshop from March 12 – May 7, 2012 and features new works created by 14 artists in residence.

This exhibition presents work by Felipe Baeza, Audrey Cohn-Ganz, Priscila De Carvalho, Brad Ewing, Alex Gavryushenko, Shanti Grumbine, LNY, So Yoon Lym, Arturo Meade, Felix Plaza, Daniel Rich, David Rios Ferreira, Marie Schwartzapfel, and Justin Yockel. The exhibition is curated by Rachel Gladfelter, Associate Director at Pace Prints Chelsea.

The works included in this exhibition address diverse concepts surrounding divergence and longing. David Rios Ferreira’s A Shared Religion Proved a New Lesson conveys a repeated central figure taking flight, amongst nostalgic images pulled from a Walt Disney past. Felipe Baeza addresses a sense of religious dissemblance in Desaparaces, an etching with chine collé. Arturo Meade utilizes found objects (vinyl records), printing directly on their surfaces, thereby changing the utilitarian course of the object’s past. Shanti Grumbine literally and laboriously excises the content from the New York Times, evolving the work through the process of kenosis. An elegant simplicity of two converging and diverging lines, Brad Ewing’s Margin XIII—margins ever changing.

For all 14 artists, their new works demonstrate delight and curiosity in experimenting with materials and concepts, and a desire to explore new possibilities in their artistic practice. The Lower East Side Printshop allows artists the freedom and range to experiment in the printmaking process via their Keyholder Residencies and Studio Rental programs.