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

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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Read Between the Lines

Wed Sep 26, 2012 06:00 - Wed Sep 26, 2012

New York, New York
United States of America

Read Between the Lines
Curated by Micaela Giovannotti
Exhibition reception: Wednesday, September 26, 6-8pm

Exhibition Dates: September 12 – November 4, 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 Read Between the Lines guest curated by Micaela Giovannotti, an independent art curator and critic. The exhibition will be on view at the Printshop from September 12 – November 4, 2012 with a reception on Wednesday, September 26, from 6-8pm.

So often the massive amount of information received on a daily basis prevents us from dissecting and absorbing the more profound layers of meaning embedded within images and text. Given that we are used to decoding language and icons, it is certainly convenient and momentarily fulfilling to gather enough knowledge from that first encounter without moving any further.

The works in the group exhibition Read Between the Lines, all from artists currently in residence at the Printshop, encourage the audience to develop a longer and deeper relationship with the images on view.

Some of the works formally exploit the lines in printed media to concurrently disguise and reveal, as in the prints of Shanti Grumbine, Julian Wellisz, and Daniele Genadry. In David Rios Ferreira’s and Linda Plotkin’s oeuvre, the abstract graphic elements instead look fragmented and are on a quest to be contextualized.

Felix Plaza’s consumerist shopping bags are devoid of interior contents that need to be provided, whereas So Yoon Lym’s disconnected tattooed limbs present themselves aggressively on an enigmatic, narrative triptych, and Kymia Nawabi’s couple in Nook (2012) cuddle, arms outstretched toward each other, in an attempt to embrace an evanescent bubble.

About the Artists
DANIELE GENADRY (b. 1980, Baltimore, MD; lives and works in New York, NY) received her MFA from The Slade School of Fine Art, was a research fellow at American University of Beirut, and received her BA from Dartmouth College. Solo exhibitions include Agial Gallery, Beirut, Lebanon and Coop Gallery, Nashville, TN. Select group exhibitions include Number 35 Gallery, New York, NY; Artgate Gallery, New York, NY; Institute of Contemporary Greek Art, Athens, Greece; and Kaleid Editions, London, England. Fellowships include NARS Foundation, East London Printmakers, and Anderson Ranch Arts Center.

SHANTI GRUMBINE (b. 1979, Rhinebeck, NY; lives and works in New York, NY and New Paltz, NY) received her MFA from the University of Pennsylvania, BFA from the School of the Art institute of Chicago, and studied at Simon’s Rock College of Bard. Select group exhibitions include Soapbox Gallery, Brooklyn, NY; Kleinert/James Art Center, Woodstock, NY; and MagnanMetz Gallery, New York, NY. Forthcoming solo shows include A.I.R. Gallery, Brooklyn, NY; Muroff Kotler Gallery, SUNY Ulster, Stone Ridge, NY; and Marioboe Gallery, Swig Arts Center, Hightstown, NJ.

SO YOON LYM (b. 1967 Seoul, ROK; lives and works in Paterson, NJ) received her MFA from Columbia University and BFA from Rhode Island School of Design. Select solo exhibitions include Paterson Museum, NJ; and Nancy Dryfoos Gallery at Kean University, Union, NY. Group exhibitions include Walsh Gallery, Seton Hall University, South Orange, NJ; Visual Arts Center of New Jersey, Summit, NJ; Jersey City Museum, NJ; and The Trenton City Museum. She is a recipient of the Vermont Studio Center Artist Residency, Joan Mitchell Foundation Fellowship, and Geraldine R. Dodge Foundation Artist Fellowship Grant.

KYMIA NAWABI (b. 1980, San Diego, CA; lives and works in New York, NY) received her MFA from the University of Florida and BFA from East Carolina University. Group exhibitions include Fehily Contemporary, Melbourne, Australia; One Mile Gallery, Kingston, NY; Pop Up Detroit, MI; Culturehall, New York, NY; and the Queens Museum of Art, NY. As the Winner of Bravo's Work of Art: The Next Great Artist, Season 2, Nawabi received a solo exhibition at The Brooklyn Museum, NY. She is the recipient of fellowships from the New York Foundation for the Arts; Lower Manhattan Cultural Council; Aljira, a Center for Contemporary Art; and Women's Studio Workshop.

FELIX PLAZA (b. 1946, Santurce, Puerto Rico; lives and works in New York, NY) received a Fine Art Certificate from New York Phoenix School of Design. Select solo and group exhibitions include Exit Art, New York, NY; 2B Gallery, Budapest, Hungary; Dieu Donne, New York, NY; Brooklyn Public Library, NY; and Donnell Library, NY. He is a former participant of Printline Exchange Residency, Belgrade, Yugoslavia and has work included in many private collections.

LINDA PLOTKIN (b. Milwaukee, Wisconsin; lives and works in New York, NY) received her MFA from Pratt Institute and BA from University of Wisconsin. Select group exhibitions include Walter Wickiser Gallery, New York, NY; 222 Shelby Street Gallery, Santa Fe, NM; Gallery 225, New York, NY; and a commission portfolio for Pennsylvania State University Rare Books Collection. Her work is included in private and public collections including Metropolitan Museum of Art, Museum of Modern Art, Brooklyn Museum of Art, Albright Knox Gallery, Philadelphia Museum, and Yale University Museum of Art.

DAVID RIOS FERREIRA (b. 1982, Bronx, NY; lives and works in Jamaica, NY) received his BFA from The Cooper Union School of Art. Select group exhibitions include Studio 1950, New York, NY; Chair and the Maiden Gallery, New York NY; Daniel Cooney Fine Art, New York, NY; Duo Multicultural Arts Center, New York, NY; Paul Robeson Gallery, Rutgers University, Newark, NJ; and The Beacon, Jersey City, NJ; among others. Solo exhibitions include the Star Bar, Jersey City, NJ and The Cooper Union, NY.

JULIAN WELLISZ (b. 1988, Los Angeles, CA; lives and works in New York, NY) earned his BA from Wesleyan University and is at the start of his career as a practicing artist. Exhibitions include Crossroads Alumni Art Show, Los Angeles, CA and Wesleyan Alumni Art Show, New York, NY.

About the Curator
Micaela Giovannotti is a NY based independent curator. Since 2010, she serves as the curator for the not for profit organization More Art www.moreart.org. Born in Rome, she was US Editor of Tema Celeste Contemporary Art Magazine from 2000-2006. She has curated shows in Italy, Miami, Toronto, and Prague and in New York including White Columns, White Box, and Affirmation Arts. Most recently, she curated Living and Dreaming for the Bronx Museum of the Arts and inside OUT at Cuchifritos in NY. Giovannotti was Critic-in-Residence at the International Artist Residency, Art OMI (New York, 2008). Extensively published in international art journals, she co-authored a book, Neo-Baroque! (Charta, 2005) and has contributed to other publications including IM02, L'Immagine Sottile, Galleria Comunale di Arte Contemporanea, Monfalcone (Italy, 2007) and Stefano Cagol: Public Opinion (Charta, 2011).

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.

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, Charlotte Ford, 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.

Image caption: Admission #2, Chanel #5, 2012
Diptych, archival inkjet with screenprint and flocking, 22" x 24" each image and sheet



Making Money Less Scary: Financial Planning and Taxes for Artists

Wed Sep 12, 2012 06:00

New York, New York
United States of America

Making Money Less Scary: Financial Planning and Taxes for Artists
With Susan Lee, EA, CFP

Wednesday, September 12, 6-8pm

Cost: Free for current Keyholder Residency recipients
$12 for LESP Studio Renters and current Members
$15 for all other artists

Join us at the Printshop with tax preparer Susan Lee, whose presentation will discuss financial and tax issues confronted by artists with a session for Q&A. Susan will address goal setting, managing cash flow, tax deductible expenses for artists, tips to help artists thrive through financials thickets, preparing your taxes, myths and facts for freelance filing, preparing for an audit, and useful resources for tax and financial services.

Susan Lee has worked with freelancers and artists in New York City for over twenty years. As a Certified Financial Planner, Susan has presented on tax and financial issues facing artists at organizations such as the Graphic Artists Guild, Artists in the Market Place, Volunteer Lawyers for the Arts, Columbia University, School of Visual Arts, The Center for Book Arts, and the New York Foundation for the Arts, among others. For many years, she hosted and produced a weekly personal holistic financial radio show, You and Your Money, on WBAI-FM in NYC. Susan has a website dedicated to tax and financial issues for freelancers and artists at www.freelancetaxation.com.


Keyholder Residecny Program

Sat Sep 01, 2012 16:25

New York, New York
United States of America


The Lower East Side Printshop, NY offers emerging artists with FREE year-long studio residencies to develop new work and foster their artistic careers. The application deadline is Saturday, September 1, 2012 for residencies that begin on October 1, 2012. Printmaking facilities are available for intaglio, relief, monoprint, waterbased silkscreen, digital processes, and other techniques that employ the tools at hand.

Keyholders work independently in the Printshop’s shared Artists’ Studio and have access to a vibrant community of peers. Artists from all disciplines are eligible to apply; printmaking skills are not required, but some familiarity with the medium is recommended. Basic instruction in printmaking and some Master Printer assistance is included in the program.

Participation is limited and competitive. Applications are evaluated by a panelist of seasoned artists, curators, critics, and art professionals based on the quality of submitted artwork. Artists currently without a studio space are encouraged to apply.

Keyholder Residency includes:
• 24-hour studio access
• $1,000 stipend
• storage space
• basic supplies (newsprint, blotters, solvents, cleaners)
• one free class in printmaking and consultations with Master Printers
• 20% discount on all Printshop classes
• free career development workshops
• free digital documentation of selected works produced during the residency
• inclusion in the Printshop's permanent collection
• opportunities to show new work in exhibitions presented by the Printshop

"Even beyond the technical learning and the facilities, having the support of the staff, the monthly emails, the workshops, salons, being a part of the Printshop community in general has had such a positive effect on my studio practice. That support has helped me stay more motivated, more productive, more engaged, and has helped me grow as an artist." Naomi Reis, Keyholder Resident, October 2011 - September 2012

• Only legal US residents may apply (i.e., Social Security cardholders)
• Students enrolled in any kind of degree program at the time of the residency are not eligible
• Keyholder Residencies are limited to emerging artists only. The Printshop defines emerging artists as under-recognized and under-represented artists in early stages in their careers

DEADLINE: September 1, 2012
Apply online: http://printshop.org/web/Create/KeyholderResidences/application.html

Please go to http://printshop.org/web/Create/KeyholderResidences/index.html
for more information, or email Christine Walia, Programs Director at Christine@printshop.org


LESP Fall Class Catalogue

Mon Jul 23, 2012 13:00

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

with Justin Sanz
6 weeks, Wednesdays, 6-9pm
August 15 – September 19

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.

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.

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.

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.

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.


Everything Is Not All There Is

Wed Jul 18, 2012 06:00

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.