Supplement to Fall 2013 Layers of Identity - LA … · Layers of Identity: Prints from the Jerusalem Print Workshop Supplement to Newsprint Fall 2013 T he exhibition presents prints

Layers of Identity:Prints from the Jerusalem Print Workshop

Supplement to Newsprint Fall 2013

The exhibition presents prints of contemporary Israeli artists who have been invited through-

out the years to work at the Jerusalem Print Workshop and create in the vari-ous printmaking techniques—etching, screen-printing, and woodcut—within close collaboration with the workshop’s master printers and entire professional staff.

During the forty years since its es-tablishment, the workshop has become a thriving art center and a home for hundreds of artists from all disciplines: painters, sculptors, installation artists, photographers and video artists - who have come to the workshop to challenge the limits of their art and expand their conceptual and material explorations.

By Irena Gordon

Irena Gordon during her curator’s talk.

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From the President

Looking back and pressing forward

In 1973, the inaugural LAPS National Print Exhibition took place at the Los An-geles Municipal Art Gallery in Barnsdall

Art Park. This marked an important milestone in the Society carrying out its mission. Founded in 1962 by Connor Everts and Paul Darrow, the beginning decade grounded the organization as a leader in promoting printmaking to the public and increasing exhibition opportunities for artists working and innovating in print as an original art form. This year the 21st Na-tional Exhibition continues to bring together exemplary examples of contemporary printmak-ing from across the nation.

Since it’s first exhibit, the National has grown to include panel discussions, demonstra-tions, workshops, and satellite exhibitions. Prints from prominent Los Angeles presses are included to exhibit Internationally renowned artists next to emerging, along with a tradition of honoring a printmaker who has made a lasting impres-sion in the field. This year June Wayne is re-membered, showcasing her legacy of establishing the Tamarind Lithography Workshop in 1960. The Workshop brought together the artist and the trained master printer to revitalize the art of lithography, ensuring lithography’s place as a relevant and important mode of expression.

I invite all of you to join in looking back to the dedicated artists who kept the art of print-making relevant, ensuring longevity of tradi-tion, while innovating and pressing forward, unifying concept and media with the print as an original. As printmakers today we share in this community, while enjoying the freedom to call ourselves artists and work across media.

LAPS has an exciting line up of events over the next few months that I hope you will share in. This issue of Interleaf highlights the details, with additional information found on the web-site and on both the LAPS and LA Print Space Facebook pages.

Thank you to those member volunteers who participate in events by organizing activities or exhibiting work, enabling the organization to continue to actively promote printmaking. Each of us carries printmaking forward, both inside and outside of the print studio.

Michelle Rozic

the intention of the LAPs 21st national is to treat printmaking as an evolving set of ideas. LAPs encourages the inclusion of a wide range of approaches to print-making, encompassing the traditional to the nontraditional/experimental, and desires to promote a venue for all relevant processes. the 21st national combines the best features of the juried competition and the invitational exhibition.

October 26 – December 14, 2013Opening Reception: Saturday, October 26 | 5 – 9 pm CSUN/California State University Northridge The Art Galleries, Northridge, CA

Gallery Talk: Monday, October 28, 10 am

More Info

on page 2!

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The prints in the show investigate subjective and collective identities through processes of construction and deconstruction. They use the layering character of printmaking, its ability to preserve and disrupt, to retain and to flood, in order to probe the ongoing tension that lies at the heart of one’s fluctuating identity vis-à-vis the

complicated Israeli re-ality and the intensity of present worldwide social, cultural and po-litical phenomena.

A special thank you to Cathy, Michelle, and Miles for contrib-uting their time and creativity to the event and to everyone who came out to celebrate Los Angeles’ vibrant printmaking scene. n

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LAyeRS Of IDeNTITy

Juror:Jack Rutberg, owner and director of Jack Rutberg Fine Arts, Los Angeles, CA

Events during the 21st LAPS National at CSUN:• Reception Saturday, october 26th, 5:00 – 9:00 pm• LetteRpReSS Demo by Mark Barbour of the International Printing Museum, 5:00 – 7:00 pm• 2013 monothonHands on printmaking with Master Printmaker John Greco and Camila Taylor of Josephine PressSaturday, november 9, 2013, 9:00 am – 2:00 pm (with John Greco)Sunday, november 10, 10:00 am – 3:00 pm (with Camilla Taylor)Where: At the CSUN Printmaking Studio

• paneL DiScuSSion Printmaking in the 21st CenturyModerated by Betty Ann Brownpanelists: Jack Rutberg, Ruth Weisberg, and Tobey C. MossSaturday, november 9, 2013 from 2:00 – 4:00 pm Where: CSUN Art Gallery

Artists in the LAPS 21st National Exhibtion:

Aspacia AnosMiguel AragonJanet BallwegCarlos BarberenaJonathan BarcanMatthew BarnesCurtis BartoneRachel BaxterNash BellowsShirley BernsteinAnnie BissettCynthia BackKellie CannonRaleigh ChesneySuzanne ChouteauHarry ClewansAaron ColemanDouglas Collins

Holly DowningBarbara DuvalLin FiedlerKirsten FlahertyKevin FrancesOlga GerdjikovLisa GrossmanDirk HagnerVanessa Hall-PatchFlorin HateganCandace HicksWilliam HostermanRaluca IancuKathryn JacobiBarbara Bouman JayAmanda MearJonathan NicklowKristin Nowlin

Bill PangburnFrancis PavyNicole PietrantoniPatricia PostCheryl RogersMichelle RozicBill SalcilloJerry SchutteNeil ShigleyGrace SippyShawn SmithKelsey StephensonSylvia TaylorVinita VoogdMimi WilliamsWendy Willis

CSUN Art Galleries 18111 Nordhoff Street, Northridge, CA 91330-8299

exhibition info line: 818-677- 2226

Another View III LAPS 21st National Juried Satellite Exhibition at Saddleback College Art GalleryOct. 23 – Friday, Nov. 15, 2013RECEPtiONTuesday, Oct. 22, 5 – 8 pmOpen hours:Monday, Wednesday, Friday: Noon – 4 pm Thursday Noon – 8 pmOpen also Saturday, Oct. 26, 10 am – 2 pmClosed Tuesdays

Saddleback College Art Gallery28000 Marguerite ParkwayMission Viejo, CA 92692

The exhibit shows work of 17 participating artists: Larry Abramson, Andi Arnovitz, Hilla Ben Ari, Avital Cnaani, Yaacov Dorchin, Avraham Eilat, Meydad Eliyahu, Moshe Gershuni, Dov Heller, Erez Israeli, Alex Kremer, Ra’anan Levy, Hila Lulu Lin, Uriel Miron, Sharon Poliakine, Nomi Tannhauser, Zvi Tolkovsky.

Left to right: Cathy Weiss, Ruth Weisberg and Irena Gordon.Below: Visitor viewing Andi Arnovitz’s series ACID.

Interleaf • Fall 2013 / 3

LA Printers Fair 2013

The 5th Annual LA Printers Fair on October 5, at the International Printing Museum in Carson, CA brought over 1500 paper and print enthusiasts together to participate in print demonstrations, learn from knowl-edgeable experts and interact with dozens of vendors. The LA Printers Fair especially welcomed back vendors who have faith-fully attended the fair for 5 years in a row, including LAPS. In fact this fair had more of a printmaking presence than any other previous one and included live printmak-ing demonstrations all day long. The fair’s special guest was Kevin Bradley of Church of Type in Santa Monica. Vendors included book artists, letterpress printers and sup-pliers, equipment dealers, typecasters, printmakers, commercial paper companies, book dealers and more. Please check printmuseum.org for ongoing events.— Rachelle W. Chuang, LAPF Team

mary sherwood Brock, Size Really Does Matter, group exhibi-tion, Los Angeles Municipal Art Gallery, Nov. 3 - Jan. 5, 2014, Los Angeles, CA; ReThink INK; 25 Years at Mixit Print Studio, Cantor Art Gallery, College of the Holy Cross, Worcester, MA.

dirk hagner, The New York Society of Etchers 3rd National Exhibition of Intaglio Prints, May - Jun. 2013, Award of Distinction, National Arts Club, NYC; Prints: CA, LA and beyond, L.A. Print Space, Los Angeles Printmaking Society, May - Jun., 2013, Los Angeles, CA; elected member of The Society of Graphic Artists (SAGA), NYC.

John Greco and Tammy

Greenwood, Mythmakers, Opening November 17th, CCAA Museum, Ontario, CA; Gang of 6 at Beyond Baroque, opens Oct. 19, 2013, Venice, CA.

Poli marichal, La Xilografia – Mexican Woodcuts, - Aug. - Nov. 29, 2013, Muckenthaler/Fullerton College joint exhibi-tion, Fullerton, CA.

Ann Chernow - The New York Fine Arts Print Fair at Park Avenue Armory, Nov. 6 -10, 2013, NYC., Visualizing Time, Jun. - Sep. 2013, The National

Academy, 2013; NYC; New Prints for the Summer exhibition, Jun.- Jul., 2013, International Print Center of NYC; Noir, lith-ographs, online exhibition, Jun. - Sep. 2013, Allinson Gallery, Storrs, CT; Third Annual, Jul. - Aug., 2013, Manhattan Graphics Center, NYC; The New York Society of Etchers 3rd National Exhibition of Intaglio Prints, Jun. 2013, National Arts Club, NYC.; Arts and Literature Festival, Jul. 2013, Grand Prize for a short story, Westmoreland, PA.

deborah salomon, A Collage Centennial, Menlo College, Oct. 2013, Menlo Park, CA; Kalassal Fundraiser at Kala Art Institute, Oct. 2013, Berkeley, CA; also at The Gardener, ongoing, Berkeley, CA. n

Member News

By Miles Hochhalter

Begun in June, 2013, The Valley Print Studio is a San Fernando Valley arts initiative. It is the ini-

tiative of CSUN graduates and LAPS members Zeina Baltagi and Miles Lewis.

Its mission is to form a paper arts workshop, which will provide both professional facilities, as well as various programs that serve the community. As a professional space, it emphasizes in-depth material exploration. The con-nection between paper’s material sus-tainability and its artistic potential will be a distinguishing feature. Additionally, the Studio promotes the combination of digital and analogue graphics as a cor-nerstone of 21st century art education.

The Studio acquired three large etch-ing presses, a complete set of Akua intaglio inks, and a full set of screenprinting sup-plies. They were able to do this through a successful Kickstarter campaign and the donations of private individuals, includ-ing fellow LAPS members.

The Studio organized and featured at both exhibition events and fundrais-ers through the Tarzana Community &

Paper Arts in the San Fernando Valley: The Valley Print Studio

Cultural Center, the Valley Art Studio School, the Tarzana Art Walk, and the LA Printers Fair.

Within the next year, it seeks to exist as a non-profit in a commercial space. The Studio is now focused on buying papermaking equipment and hosting workshops and open-studio time. Cur-rently, the Studio operates out of Miles Lewis’ Valley Art Studio School, with satellite classes at Zeina Baltagi’s studio

In Memoriam, Dona Geib1932 -2013

LAPS president 1994-1995

� / Interleaf • Fall 2013

in Moorpark.Within the next year, Miles and Ze-

ina hope to incorporate as a non-profit and acquire a commercial space. They

are also planning local exhibitions of re-gional, national, and international work in order to generate a profile for innovative exhibitions and the range of print and pa-per arts.

You can contact them, follow their progress, and subscribe to their newslet-ter at:

Facebook: https://www.facebook.com/val-leyprintmakingstudio n

eTChING PReSSeS fOR SALeA. Sturges, 48” x 28” bed. $2,500. Upland area, will help move within 100 miles. [email protected]

B. Martech. 40” x 28” bed, custom built. $2,000. Has both motor and hand crank. San Gabriel valley area.(949) 493-5596

C. Griffin Series III, 55” x 32.5” bed. Best offer. Malibu.

D. Crafttool Graphic Arts Press, 22” x 12” bed. Best offer. Malibu.

Interleaf • Fall 2013 / 5

An intimate yet dynamic gather-ing of 4 nationally well-known print artists, rarely seen in Los Angeles, is currently on view at

the Weingart Gallery of Occidental Col-lege. Lynne Allen, Fred Hagstrom, Phyl-lis McGibbon and Paul Mullowney are all artists known for transforming elements of traditional printmaking in their work and the group shares other sympathies beyond experimentation. Curated by Linda Lyke, artist and professor of printmaking at Occi-dental, the artists are nationally known and colleagues that Professor Lyke has known and worked with over the years.

Paul Mullowney, a San Franciscan artist and master printer, worked with students to create his onsite print installation for the gallery. The installation included the copper plates and woodblocks, now well worked and transformed, along with the prints in various unique impressions. The idea of transitory existence is also refer-enced in the imagery of Buddhist charac-ters and Noh theater masks of ghosts and spirits. Mullowney, who got his start print-ing at Crown Point Press for artists such as John Cage, spent 10 years in Japan, much of that time caretaking a Temple site near Nara, so is close to these concepts and im-ages.

Fred Hagstrom’s 2013 book Passage presents elegiac images of slavery and slave ships. Faces young and old stare out from the past, both in the pages of the oversized book and from the wall nearby. Hagstrom has devoted much of his printmaking ex-pertise in creating prints for his books that are dense with overlapping images.

Lynne Allen’s ingenious 3D prints rec-reate intricate Indian artifacts. Etchings and lithographs of handwritten land grant trea-ties are and sewn with beads and stitched like skin to reference her Indian ancestry.

Much of Phyllis McGibbon’s recent work is inspired by the iconic engraved lines of Albrecht Dürer. She recreates these

Rethinking the Multiple By Mary Sherwood Brock

lines in surprising ways, using leather and twine on board, for example, or taking small areas of the Dürer print into a larg-er scale and replicated abstractly, so hands are revealed from folds of hatched lines. Elsewhere delicate veils of fabric hang ceremoniously from hand brayers, im-printed with the lines that also cast shad-ows, making 3 dimensional again these signature graphic lines. n

october 9th to november 15th, 2013Weingart Art Gallery, occidental College. 1600 Campus road Los Angeles, CA 90041

LAPS FOUNDATION SCHOLARSHIP AWARDS

The LAPS Foundation will provide the annual scholarship cash grant awards in printmaking this Novem-ber, 2013. The competition is open to full time students, and funds will be distributed at the discretion of the jury. Applications for these 2013 grants are available now to students who submit a portfolio of 6 prints, including at least 2 edition prints. All applications must be signed by a faculty member and included within the portfolio to be hand delivered. Each applicant will be notified well in advance about the time and loca-tion for delivery .If you are a faculty member, please encourage your most promising students to apply. Student members of LAPS are eligible, but regular members of LAPS are not eligible, even if they are students.To request an application, please contact me, Barbara Frankel, Chair: LAPS Foundation. [email protected] 310-472-3261

Linda Lyke, Paul Mullowney in front of his work.

Detail of Lynne Allen’s installation.

Inking up a skateboard

woodcut.

Frogman’s Summer Printmaking Workshops

By Diane McLeod

� / Interleaf • Fall 2013

Near the junction of three Midwest states, South Da-kota, Iowa and Nebraska in Vermillion, SD is lo-

cated one of the most unique printmak-ing programs in the country, Frogman’s Print Workshops. What makes me most enthusiastic about Frogman’s and has brought me back many times is the va-riety of workshops offered and taught by personable, top notch printmaking artists and professors from around the country.

Classes, which can be taken the first session, the second session, or both, take place during the first two weeks of July. The courses may be a brush-up, an enhancement of existing skills, or offer something entirely new. All were true for me when the first week in July, 2013 I took Digital Printmaking: New Techniques for an Old Medium taught by Howard Paine, Chair of the Depart-ment of Art and Design at the University of Southern Mississippi in Hattiesburg, Mississippi. In the class, participants combined digital imagery from a variety of inkjet printer output methods with tradtional relief printmaking, specifically woodcuts.

Frogman’s Print Workshops are named after founder, Lloyd Menard,

Black Hills of South Dakota. Printmaking was introduced in 1981 and by 1996, the workshops moved to Beresford, SD into a converted bowling alley, then to Lloyd’s el-egant home/ studio in an old Ben Franklin store. The mixed use space had a New York style gallery, two splendid apartments, pa-permaking and printmaking facilities, wood framing shop and storage.

Frogman’s came to the University of South Dakota at Vermillion in 1998 to the spacious facilities of the Warren M. Lee Center for Fine Arts and to the university’s enthusiasm about the popular Frogman’s bringing USD some of the finest poten-tial MFA candidates in the country. Lloyd’s son, Jeremy, joined Frogman’s after finish-ing his graduate studies in arts administra-tion and working in the arts and entertain-ment industries. He has been the Director of Frogman’s since 2005, when his father retired from both Frogman’s and the Uni-versity of South Dakota.

The writer loves being able to work on my own in the shop day and night and vis-iting other classes in session as everyone is encouraged to do. Even if that means miss-ing some of the evening activities that have been carefully planned for social enrich-ment, networking, building community and just plain fun, all of which Frogman’s is

The Japanese woodblock printing class.

Kathryn Pollock, lithograph instruc-tor, A Fire to be Kindled.

Howard Paine and Jeremy Menard.

a Professor Emeritus with over 40 years of experience teaching print-making, papermaking and drawing. Menard relishes his nickname as a frog, a derogatory term for a French-man, and Menard is of French Ca-nadian ancestry. Frogman’s humble beginnings date back to 1979 when Lloyd taught drawing classes to a small group of educators in the

Interleaf • Fall 2013 / 7

big on. One activity I don’t pass up is the costumed bowling tournament with priz-es awarded for skill - few break 100 - and costume creativity. Not to be missed ei-ther is the Introduction Party on Sundays at Howler’s, “Gathering of the Minds,” a social event and digital pre-sentation of all participants’ work. The Missouri riverside barbecue and blast is an op-portunity to cool off when temperatures soar, as they of-ten do in the Midwest where the weather is unpredictable and sometimes dramatic. Plus, there’s an opportunity every day at 11 a.m. to get to better know the instructors and their work through visual presentations.

One such presenter was the Digital Printmaking Pro-fessor, Howard Paine, formerly Director of the Master of Fine Arts program and Associate Professor of Memphis College of Art. He showed art integrating digital imagery and traditional printmaking pro-cesses, which he has done for 20 years. In the mid 1990s, his work drew upon his interest in medieval icons and the civil war in the former Yugoslavia. His early organic works in 1998 reflected dramatic life and art changes. He was influenced by Ernesto Neto and the sculptor Patrick Dougherty. These works were followed by large 40 x 53 inch Shadow Digital Prints and the Icarus project. For the past several years, Howard’s work has been concerned with the impact of technology on society, and most recently, imagining biology and genetic engineering and its influence on humanity. He worked with the “Art of Science” for the last two years,

Howard Paine’s drawing on mylar for digital image ... and reduction woodcut.

a collaborative project between artists and researchers at St. Jude Childrens Research Hospital. In 2012, he was awarded a faculty research grant for a one month residency at the Vermont Studio Center. His work is shown

regionally and nation-ally.

In addition to facul-ty presentations, other enriching Frogman’s art adventures include Open Portfolio night - show off what you can do and look for a graduate school if so inclined, the Faculty Exhibition on display all week, the Gallery Crawl to several walk-able museums and gal-leries and the Final

Banquet. Participants who want the option of receiving three credits per session find it incredibly affordable, especially compared to other sum-mer workshops. Three credits, given

through the University of South Dakota, cost only $120 on top of the Frogman’s tuition. Credits are transferable and cost the same whether you are an undergradu-ate or graduate student, and whether you reside in or out of state.

“It takes a team to run Frogman’s,” says Jeremy and during the month of the workshop there are approximately thirty people on that team including: Director Jeremy Menard, coordinators, faculty, and assistants. But for the other eleven months out of the year, every facet of Frogman’s is Jeremy’s responsibility. He estimates that running the workshop takes about 60 hours per week in the spring and summer and about 30 hours per week in the fall and winter. Jeremy says that he has the same passion for print education as his fa-ther. In the bowling setting, too, I might add! One of the beauties of Frogman’s that he especially loves is “the lack of hi-erarchy of the classes and the very open, giving environment. Professors, profes-sional artists, graduate students and un-dergraduate students intermingle, share and support one another in their artistic ventures.” The schedule of classes for the 2014 workshops is already available for registration and can be found online, www.frogmans.net.

A native Minnesotan, I have a cabin only a couple of hundred miles north of Vermillion. It is convenient for me to get to Frogman’s and I would go there even if it were not. Any printmaker is encouraged to plunge into this truly Midwest experi-ence and find out how life in a sleepy uni-versity town with little frills and vast aro-matic fields can give you one of the most enrichening experiences of your life.

Howard Paine is available as an Artist in Residence. Contact him at [email protected]. n

Diane McLeod, Frogman Time, wood-cut over digital print.

Final lunch, Digital Class members.

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Los Angeles Printmak-ing Society announces an exciting new affilia-

tion with the Scuola Internazi-onale di Grafica in Venice Italy. Along with LAPS working on an exchange exhibition, LAPS members will be given special discounts on residency oppor-tunities at the Scuola, especial-ly during the off season when the Scuola is not running the summer school program with Indiana University. The Scuola will provide significant op-portunities for LAPS artists to spend a few weeks working on their individual projects in Venice with access to all of their studios. The Scuola offers a variety of residencies to choose from including

The Scuola Internazionale di Grafica, founded in 1969, is the leading interna-tional art studio in Venice for practicing and professional artists. Each month Italian and international artists come together to work in the Scuola’s independent Studio Inter-nazionale di Grafica for one to twelve week residencies. In the wide and well equipped studios, artists exchange inspiration, ideas, experiences and techniques, while explor-ing and expanding their individual, creative work.

A residency at the Studio di Grafica pro-vides the unique opportunity to experience Venice, not as a tourist, but as an indepen-dent, working artist in the Studio’s interna-tional creative community. Resident artists draw inspiration from both the historic mas-

terpieces and contemporary art scene, from fellow artists and the knowledgeable stu-dio staff, as well as from the simple joy of daily life in the magic that is Venezia.

The Scuola is affiliated with institutions such as Ver-mont Studio Center, Boston University, Indiana Univer-sity, and now the Los Angeles Printmaking Society.They are also connected with all the Italian Academies of Fine Arts and Museums. Interna-

tional artists who have taught, lectured and worked at the Scuola include Henry Goetz, Stanley Hayter, John Ross, Mi-chael Mazur, Jorg Schmeisser, John Vir-tue, Robert Storr, Jon Gregg (founder

of the Vermont Studio Center), and many others.

All resident artists have access to the Scuola’s well maintained studios, which include a large computer lab, separate stu-dio for screenprinting, lithography, and intaglio studios, that are professionally equipped, as well as private studio areas for artists to paint and work on mono-types. Accommodation is provided in pri-vate rooms at the Scuola’s apartments in Campo S. Maurizio, which is in the central historical area of Venice, a 5 minute walk to Piazza S. Marco. The apartments are equipped with a kitchen, bathroom with shower, laundry facilities and living area and all are furnished. A wireless DSL In-ternet connection is also provided in the apartment and the Scuola studios.

The Scuola and LAPS will be working on an exchange exhibition for 2015 and hope that our members take advantage of this wonderful and unique year round ex-perience.

For more information visit the Scuola online at http://www.scuolagrafica.it/scuo-la-internazionale-di-grafica/venice-artists-residencies/ and contact Lorenzo di Castro about your LAPS benefits. n

Scuola Internazionale di Grafica Mary Sherwood Brock

Renew your Membership for 2014!Among new services offered on the web is an online gal-

lery, where each member in good standing may post up to six images, a curriculum vitae, and an artist statement on an indi-vidual page. You join the gallery when you join LAPS.

LAPS operates on a calendar year basis. Membership fees are due January 1 of each calendar year and become delinquent after March 10. The only exception are members who joined LAPS in November. They will be considered paid through the end of the following year. Mail your dues form and check to the treasurer: Kay Brown, LAPs treasurerPo Box 1547 south Pasadena, CA 91031 Checks should be made payable to LAPs.

❍ Regular Membership $50 $60 after March 10, 2014❍ Associate Membership $40❍ Student Membership $15 (with proof of enrollment)name:_________________________________________Address:______________________________________________________________________________________Phone:_________________________________________email:__________________________________________

LAPs is a volunteer organization that relies on its member participation. how can you help us?❍ I would like to know more about Board of Director positions.❍ I would like to know more about committees and what they do.❍ I could occasionally help out with show take-downs, mailings, etc, but would not be available on a regular basis.

In this issue:• 2013 Los Angeles Printers Fair• Coming up: LAPS 21st National • Frogman’s Summer Workshops• Jerusalem Workshop: Layers of Identity• Rethinking the Multiple • Scuola Internazionale di Grafica

S P R I N G 2 0 0 7

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LAPS members wanting to post your print images in the gallery section:Directions are posted on the Gallery section sidebar. You begin by contacting the website coordinator and requesting a member login account and password. We are constantly working on improving the site for our members. We encour-age every member to take advantage of your membership page on the LAPS website. And if you have a page already- then keep it updated! Your art work will be getting a lot of attention in the coming months, so take time for your LAPS membership page! Please see LAPrintmakers.com.

Please send all members activities or other items for Interleaf as a plain text file to: [email protected]

ATTeNTION MeMBeRS!Newsprint editor, Mary Sherwood requests that members interested in working on articles for the next Newsprint journal, which will have a theme focusing on “Printmaking Communities”, should contact her at: [email protected]