Supplement to Summer 2014 The Last Hurrah! I had the opportunity to “live” with these prints for a time and I’ll continue to share some insights into some favorites that came

The Last Hurrah!Supplement to Newsprint Summer 2014

Mimi Williams’ linocut Stolen Mo-ments could be likened to an Impressionist painting, a color-

ful, casual snapshot moment of a familiar interior setting. The dishes are piled high in the sink and any number of things could

be happening out of frame, but the young bespectacled woman, hair piled high, arm

and leg akimbo, is grabbing a few moments read from a book she is holding.

By contrast, a woman facing the same direction as Mimi’s reader in Patricia Post’s Vigil holds only herself. Her hair is piled high, too, but its style and her dress are prim, older. Fixedly, she stares absorbed in something beyond the frame. This etching was dark and intriguing, particularly for the questions it raised.

On the wall facing the entrance to the LAPS Print Space at the PDC there was no question what the Monty Python - like quartet of BP men, backsides to us, was up to; Pissing in the Deep Blue Sea in the Spring Time. Dirk Hagner’s letterpress and wood-cut print was based on the traditional broad-side printing format combining haiku, “not classically texted,” with typography of early

The LAPS 2014 Juried Membership ShowBy Diane McLeod

View of “The Last Hurrah at the Blue Whale” at LA Print Space at the Pacific Design Center (a.k.a. the Blue Whale) in West Hollywood, CA.

From the President

LA Print Space

A fter a terrific two-year run, the LA PRINT SPACE at the Pacific Design Center is closing.

On behalf of the LAPS community I would like to extend acknowledgements and thanks to those who worked to bring together the exhibits and programming.

Cathy Weiss tirelessly led the space as Director, ensuring smooth operations. Cathy organized the first exhibition, Sea of Exchange, along with the Irish Film Festival Director, Lisa McLaughlin. Lisa assisted with funding the opening of the space. Ariell Brown efficiently managed the space for the first year and a half, from packing and unpacking work, managing the Facebook page, and installing/deinstalling exhibits.

The last few months the space was open, Joni Allen took over for Ariell as gallery manager. Gallery interns Andrew Phillips and Joseph Alford assisted with exhibit installation and deinstallation, marketing efforts, and the day-to-day operations. Robert Brown volunteered on installing all but two of the exhibits, including organizing the preparator materials, prepping the gal-lery walls, hanging art and signage, and exhibit lighting.

The LAPS Exhibition Committee assisted with organizing and installing various exhibitions. Miriam Dema worked on the first New Members Show. Sarah Pavsner organized the Man, Machine and Nature exhibit. Poli Marichal and Cathy Weiss coordinated the Heart of East L.A.: Self Help Graphics and Art show. The California Society of Printmakers exchange show, CA, L.A. and Beyond, was put together by Sheila Newmark. Ruth Weisberg and Cathy Weiss organized the Layers of Identity Jerusalem Print Workshop exhibition. Vinita Voogd worked on the Student Invitational, along with Juan Rosillo and Holly Jerger. Mary Sherwood coordinated The Press is My Paint-brush along with the LAPS 2013 New

continued on page 2continued on page 6

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Interleaf • Summer 2014 / 3

American printed announcements. Classic haikus and pissing? “Dissonant visual elements are embedded to add some acidity to the perceived roman-tic notion haikus have acquired,” said Dirk in his statement.

With similar brazenness and dis-cordant content on the opposite end of the wall was the frontal image of a man in a cramped space on the throne, pants around his ankles, computer on his bare lap, eating a sandwich. Mc-Shitter, a linocut in exquisite detail by Carlos Barberana also brought con-temporary images into old time Master Pieces of Art, explained Carlos, themes using their titles and compositions to

selected from 240 entries by traveling along the left-hand wall into a small gal-lery space, come back out, cross the front wall, go into the back gallery and come up the other side. Vice versa or by ambling anywhere you wished. Like a locomotive moving smoothly and rhythmically, the works of art were placed closely, equi-distant down the lengths of the walls, the only unadorned space a back small gallery that for this final show in the PDC space was brim full of packing boxes, many very large.

Janet Ballweg from Ohio was repre-sented with a 4-color polymer plate in-taglio, Little Daggers. From an on-going series of prints, this was a deceptively still and homey scene of two coffee cups on a kitchen table, patterned wall paper in the background as well as the shadow of a pull shade cord, somehow sinister. It ac-

complished her intent to evoke a “sense of waiting and wanting and a mixture of hope and despair.”

Also dealing with relationship ten-sions, the big, bad wolf is front and center in Florence Alfano McEwin’s prints and Red Riding Hood is fighting back. In bold black, red and white, Let’s go Jack and Your Mother’s Coming tonight? are photo inta-

revisionist works of the childhood tale.Of the many fine intaglios, two stood

out for me, Katharine Gross’ 10 x 8 inch-es etching and drypoint Seduction and Eric Goldberg’s 6 x 18 inches Studioscape,

his intent “to produce a quickening movement between observation and imagination.” Mary Tarango’s angu-lar Atmosphere 4 was a pastel puzzle

You decide your favorite from the three 3-D entries. Michelle Murillos’ DNA Map in the Letters: Europe, screen print on glass, was interactive and done with an innovative

Heaven’s Dogs by Aaron Coleman

Michelle Rozic, winner of the Hiromi Pa-per and the Tobey C. Moss Gallery Purchase Awards.

Left to right: Judy Chan, Diane McLeod and Annie Stromquist.

address difficult contemporary issues such as environmental pollution…

You could view the LAPS 2014 Jur-ied Membership Exhibition of 67 prints

The LAPS Board members decided to celebrate the gallery’s closing by open-ing up the final LAPS exhibition at the Pacific Design Center to the membership competition, a show that ran from May 23 - July 3, 2014. Judy Chan juried this show of diverse prints with multileveled imag-ery and techniques. She said that what didn’t make it in could easily comprise another excellent exhibition. As coordi-nator, I had the opportunity to “live” with these prints for a time and I’ll continue to share some insights into some favorites that came from this inspiring immersion experience. Half of the prints came from CA, the remainder from across the nation and Canada.

Reflecting a sense of place were the diminutive woodblocks of Grant Mc-Gean from Canada, minimal and intrigu-ing, one being the 7.5 x 7.5 inches Station House. They were inspired by his life in a Northern New Brunswick village. Also reflective of the place she lives, Idaho, was Armament, a woodcut by Deanna Glad. A strong and complex weaving image of stacked antlers, creating this image made Deanna “better appreciate the beauty and strength of the animals that dropped them.”

glios with chine colle and collage. Pow-erful, rollicking, psychologically and me-dia laden, they dealt with “a playful twist of angst and feminine empowerment,”

an etching/aquatint. The print of Katha-rine, who is a master etcher, was dense with somewhat real and imagined crea-tures. The “Beauty and the Beast” which she says is the theme of her work, are metamorphosing, growing exaggerated sexual, sensual parts, delectably fascinat-ing and naughty. This was an exquisitely detailed and time consuming drawing, realized meticulously on a copper plate — spellbinding.

Eric, another etcher, “draws on plates of copper with a needle of steel.” With minimal color, like Katharine’s work, they also begin from carefully detailed drawings. His aren’t fantastic but rath-er realistic depictions of people on the street and a view from three windows of outside buildings. Their beauty was re-markable.

Among the abstractions were Miles Lewis’ Angel, a cyanotype, screenprint and collograph strongly but minimally colored. It’s dynamic quality reflected

of geometric pieces. A monoprint, it originated from the interesting per-spective of “studying the history of both Eastern and Western landscape genres.”

Judy Dekel’s monotype, There is a Season, completed with chine colle, was a colorful image of subtle beauty with meloncholoy overtones.

technique; a screen printing method with powdered glass sifted through a screen onto a glass plate. Tiny glass squares on the glass surface could be moved around. A wood engraving/artist book, ch’anel by Donna Westerman stood 4 inches high, 12 inches long and .5 deep. The fold-out

revealed close observation and an enjoy-ment of what she viewed, completed with masterful execution. My Angels and De-mons, Demons and Angels – the same one, stood 9 inches high, 32 inches wide and 40

inches long. It was a 3-sectioned intaglio repetition of a demon, frightened cat, an angel and a confused woman in the center. Printed with varying colors and stages of dissolution, it stood on a mylar base ladled with text from the title in various sizes and formats.

Check out the LAPS printmakers web-site for more.

Many thanks to all the volunteers, in-cluding exhibiting artists, who gave of their time and energies to make this exhi-bition possible. Special kudos to our gal-lery manager, Joni Allen, who many of you met through her thoughtful e-mails, phone calls and at the reception and to Ariell Brown as well. Joni’s multi-tasked involve-ment greatly helped to make possible our successful final show at the PDC. n

� / Interleaf • Summer 2014 Interleaf • Spummer 2014 / 5

By Cathy Weiss, Director LA Print Space

I t’s time to say goodbye to LA PRINT SPACE at the Pacific Design Center. We closed our doors on July 3rd after 2 years

of amazing exhibitions. We are proud to say we had the only contemporary artist made prints and community space in Los Angeles! Part of our mission statement was to include the LA community, to go beyond our membership and be inclusive. We also extended ourselves to exchange shows bringing in the highest level of work from the Jerusalem Print Workshop. We were able to offer our membership and beyond the opportunity to participate in shows where thousands of people came to see art at the Pacific Design Center’s program Design Lab. Because of this we were able to continue our mission to educate by bringing printmaking to the LA community.

We hope to find a new space to continue our journey in the near future. Until then please continue checking our website for all exhibitions and opportunities! n

Here’s a recap of the shows we presented:

• Ireland/LA Sea of Exchange

• 2013 New Members Show

• Man Machine Nature

• Heart of East LA Self Help Graphics

• Exchange Show With California Society of Printmakers

• Layers of Identity: Prints from the Jerusalem Print Workshop

• Student Invitational

• The Press is My Paintbrush

• 2014 New Members Show

• Give and Take Exchange

• Last Hurrah, Members Show

� / Interleaf • Summer 2014

Leslie Brown, 7th Biennial 2014, Ontario Museum of History and Art, Apr. - May, 2014,Ontario, CA.

Dirk Hagner, Made in California May. -Jun., 2014, Gallery of the city of Brea, CA; Society of American Graphic Artists 2014 Membership Exhibition, Aug. xx - Sept. xx., 2014, New York City, NY; Push and Pull, Los Angeles Printmaking Society and the City of Brea Art Gallery, Jul. 26 - Sept. 12, 2014, Brea, CA; Last Hurrah at the Blue Whale, LA Print Space, Los Angeles Printmaking Society member exhibition, Jul. 2014, West Hollywood, CA; Purchase of his artist’s book (W)here by the University of Utah for their Special Collection, Salt Lake City, UT.

Ann Chernow was featured with her picture in the front page article

of the April 2014 issue of the Journal of the Print World titled “16 Remarkable Women in the Print World”; Noir

City Magazine published by the Film Noir Foundation in CA, also featured

an article about Ann and her work with the organization.

Masha Schweitzer, A Fine Affair,

The Platt Gallery, American Jewish University, Aug. 10 – 28, 2014 Los Angles, CA; Push and Pull, Los Angeles Printmaking Society and the City of Brea Art Gallery, Jul. 26 - Sept. 12, 2014, Brea, CA; Boston Printmakers: From Palette to Plate”, Newport Art Museum, Aug. 30, 2014 – Jan. 4, 2015, Newport, RI; Layers of Identity ll, Arena Gallery, Aug. 2 – 30, 2014, Santa Monica, CA, – this exhi-bition travels to the Jerusalem Print Workshop, Jerusalem, Israel, Dec.18, 2014 – Feb. 13, 2015.

Sheila Newmark, Momentum, solo exhibition, Gallery 417, Jul. 10 - Aug. 13, 2014, 417 S. Hill St. downtown Los Angeles, CA.

Dave Lefner, American Flashback, Sue Greenwood Fine Art, Apr. - May, 2014, Laguna Beach, CA.

Mary Sherwood Brock, Kay Brown, Poli Marichal, Marianne Sadowski, Noriho Uriu and Cathy

Weiss, Washi: Printmaking with papers from Fuku, Muckenthaler Cultural Center, Jul. - Sept.28.. 2014, Fullerton, CA.

Fethi Meghelli, Fragments: Tragedy and Hope, Kehler Liddell Gallery, May – Jun., 2014, New Haven CT.

Tallmadge Doyle, Purchase Award 2013/14 of 3 prints for the permanent collection of Umpqua Community College, Roseberg, OR.

Jessica Dunne, B. Sakata Garo, Jun., 2014, Sacramento, CA.

Diane McLeod, Last Hurrah at the Blue Whale, LA Print Space, Los Angeles Printmaking Society member exhibition, Jul. 2014, West Hollywood, CA..

Arthur Geisert, From Pencil to Printed Page: Arthur Geisert’s ’Thunderstorm ‘, Jun. -Sept.14, 2014, Figge Art Museum, Davenport, IA. n

Member News

RegulaR MeMbeRs-ChangesJon Goebel200 W Kawili StHilo, HI 96720Cell: 808-895-6819jerseypresyahoo.com

Vanessa [email protected]

Raluca IancuUniversity of TennesseeSchool of Art 1715 Volunteer BlvdKnoxville, TN 37996-2410

Diane [email protected]

Sarah Pavsner2938 1/2 Triunfo Can-yon RoadAgoura, CA 91301

Michelle Winkler

310-598-9301new RegulaR MeMbeRsMatthew “Carson” Day6110 Cahuenga Blvd. apt #10North Hollywood, CA [email protected]

Traci A. Durfee537 E, 3rd. StreetLong Beach, CA [email protected]

Rebecca Harvey Pollack2827 Putnam St.Los Angeles, CA 90039323-333-5010 cell323-663-5156 home

[email protected]

Julie Hunter Bagis2731 Angus St.Los Angeles, CA [email protected]

Leon Loughridge2377 S. Downing St.Denver, CO [email protected] www.dcartpress.com

Ethan A. Rice1817 Euclid St apt #1Santa Monica, CA [email protected]

John Tallacksen1431 Valencia St. Los Angeles, CA 90015

FOR saleIngento 36-inch paper cutter in good condition. Put on wheels with extra shelves. New cost is over $800.$250 o.b.o. (949) 500-1886, Southern California.

IN MEMORIAMMartha Brundage, artist, LAPS member, and Pasadena City College professor has died. Born in 1938 in Whittier, CA and grad-uated from Art Center College of Design in the 1950s. Two decades later she earned a MFA at CSU Fullerton, focusing on printmak-ing. Her work, which specialized in lithography, was shown widely throughout southern California as well as nationally.

2014 LAPS FOUNDATION SCHOLARSHIP AWARDS

RECIPIENTSTaylor Guerra — CSU Long Beach — $500

Erin Kennedy — Saddleback College

— $500

Nora Ayala — CSU LongBeach — $300

COngRaTulaTIOns!

Members show, assisted with many show installations, and kept the exhibition in-formation up to date on the LAPS website and LAPS Facebook page. Give & Take was organized by Cathy Weiss, Holly Jerger, Sarah Pavsner and myself. Fi-nally, Diane McLeod coordinated Last Hurrah at the Blue Whale, an appro-priately titled membership exhibition.

A special thank you goes out to the Board members and LAPS members not mentioned by name that volunteered time at the gallery, and to those members

who supported the LA Print Space by attending the exhibits and events and by encouraging others to attend. Thank

you to the exhibition jurors, live printing demonstrators, and those who gave talks at the space. Lastly, thank you to the par-ticipating artists and presses whose work embodied the timeliness of printmaking in the context of today’s art world. Two years of excellent programming at the LA PRINT SPACE contributed to sharing contemporary printmaking with the Los Angeles community.

Michelle Rozic

From the Presidentcontinued on page 6

Interleaf • Summer 2014 / 7

Printmaking in VeniceBy Juan Rosillo

Five weeks residence at Scuola Internazionale di

Grafica a Venezia

Even if this is not your first time visiting Venice, as soon as the train reaches the narrow stretch of land

that links Venice to the mainland, you have the sense that you are about to experience a city like no other. Stepping out of the train station you find yourself in front of the Grand Canal in a city that has for the past 400 years developed uniquely on a small cluster of islands, without cars, bicycles or skate boards. I took the vapporeto, which is the local water bus, to the Scuola apartments, which

were easy to find with a sign on the door waiting for me. I rang the bell and the school director Lorenzo de Castro, greeted me with my keys to the school and the apartment.

Next day at the school I met the studio manager, printmaker Roberta Rupi Feoli, who studied printmak-ing in Venice and at a University of Granada in Spain. The Scuola is me-ticulously organized with everything in its’ proper place labeled in Italian and English so it is very easy to start working. The acid and aquatint box are set apart for safety and there are

beautiful sets of Italian roulettes, mezzotint rockers and tools in per-fect condition for artists to use.

There are various etching press-es available in the open studio and you have your own studio space with table and a view, so you are dream-ing an amazing feeling of being in this special place. Going to have my coffee, just a few steps away from the Scuola, where by the second day they know my name and my prefer-ences, all this makes it hard not to fall in love with this city.

The director and founder of the

Grand canal in front of Venezia “Sta Lucia” train station.

Interleaf • Summer 2014 / 9

school is la signora Matilde de Castro, a veteran printmaker who has traveled ex-tensively and visited numerous print stu-dios around Europe. She is a true Vene-tian with all the grace. Everyone speaks English in the studio and there is another important person on the staff, Deirdre Kelly, originally from London, who has been living in Venice for more than 10 years. A talented artist herself, she is al-ways ready to help and guide you during your residency.

I established my working hours to ac-commodate time to see museums or walk through the city, which itself is a living museum. Venice gives one a unique feel-ing of being an antique city, but where people are going about their daily lives as

well. Visiting Venice when it is not full of tourists is always a plus. As one gets fa-miliar with the city, which is only around 5 square miles, you can enjoy getting lost, favoring this place that has no paral-lel and thinking about the history of “La Serenissima”, home of some of the most important Renaissance and Baroque art-ists. A city without walls protected only by the water and by trade. Her history as always been as an open city and home to people from many different places, reli-gions, and cultures; a city that since it’s founding in 421, has traded with all of the known world. This is where a book was printed in Hebrew in 1464, just 14

years after the Guthenberg Bible. By the late 1500’s there were more than 150 ac-tive print shops in Venice, among them Aldus Manutius, of Aldine Press, who was responsible for reviving and publishing all the Greek classics on “pocketbook” or oc-tavo format, identified by the celebrated trademark of a dolphin wrapped around an anchor.

When strolling this unique city at day or night you feel the resonance of the his-tory of Venice and her people. A Venetian was the first woman to receive a doctorate from a university in 1678. The churches and museums are full of the works of Ve-netian painters, such as Bellini, Rosalba

Carriera, Tiepolo, Tintoreto, and Titian. Venetian composers such as Monteverdi, Gabrieli, and Vialdi, are also celebrated and is the famous ex-plorer Marco Polo.

For the visitor, it is a wonderful place to explore with so many narrow pedestrian streets and scenic bridges over the canals. Trains and Water bus-ses provide an easy way to visit nearby cities with inexpensive fares. I went to Padova and Vicenzamto Udine to visit the famous Print shop of Corrado Al-bicoco and his son Gianluca who are probably one of the most reputable printmakers in Italy and Europe. I found Venice an ideal destination to do printmaking and felt submerged and welcomed in the local culture. n

Juan Rosillo and Matilde de Castro, Scuola studio director and professor.

Lorenzo de Castro. Scuola internazionale di grafica a Venezia director.

Below, left to right: Eva Svitek, artist in residence and Roberta Rupi Feoli, studio manager.

First row, David Ferri, professor of printmaking, Cambridge University

UK; local artist; back row, Pio Pioshi, Venetian sculptor, Roberta Rupi Feoli,

studio manager, Juan Rosillo, artist in residence, Bill Root, printmaker

instructor from Belgium.

Venezia “la Serenisima”.

� / Interleaf • Summer 2014

LESSEDRAA Printmaking Community in Sofia, Bulgaria

This story was submitted by Ann Chernow and edited by Mary Sherwood and Dirk Hagner

The Lessedra Printmaking community was founded in l990 by Georgi Kolev

who has remained its director to the present. Lessedra is a central focus of printmaking activity in Sofia providing an active studio and gallery space.

Lessedra’s Miniprint Annual, in place for 11 years, attracts work globally. It is a prestigious event on the international printmaking calendar. In 2011 prints were ac-cepted from artists in 57 countries. This year’s annual has grown to more than 1500 artists from over 80 participating countries. The submissions to Lessedra’s Miniprint Annual are selected by an inter-national jury and a full catalog is produced. Selected artists are fea-tured on Lessedra’s website.

The international participa-tion in Lessedra’s Miniprint An-nual helps support the Lesse-dra programs. At one occasion a participating artist wrote on his blog about his acceptance experi-ence, questioning Lessedra’s entry fee qualifications. His concerns abated upon learning what the fees were used for. The exhibit publishes an extensive catalog in which every accepted work is pho-tographed and identified. Accept-ed artists’ CVs are posted on the Lessedra website for a year until the next exhibition starts. The fee also covers the return postage of all accepted prints that remain un-sold during the exhibition, as well as administrative costs such as promotion and the coordination of jurors. Unaccepted works are

returned and the entry fee is re-funded to those applicants. Lesse-dra does not take a commission on sales of prints from the exhibition and awarded prize money can be substantial.

Georgi Kolev does the vast majority of the work to run the gallery and the programs, along with volunteers, and his wife Valya. He keeps in touch with artists during the year via email provid-ing information about Lessedra’s programs. For many years the couple has organized exhibitions worldwide promoting the work of Bulgarian printmakers, including shows in Portland, Oregon, the Netherlands, Japan and Canada. More plans are in the works.

Another aspect of Georgi Kolev’s endeavor is his involve-ment with the Lessedra Art Vil-lage and Art Academy in Les-sidren, about 80 miles from Sofia. Intended for residencies, it has accommodations such as studios, workshops and a gallery space. His goal is to bring artists from all over the globe to live and work together, and to contribute to ex-changes between artists, critics, students and collectors. Lessedra encourages artists to participate in its programs.

Starting in the late 1980s with local artists the Lessedra Collec-tion now encompasses works of 150 artists from 50 countries.

Information about Lessedra and how you can participate in Lessedra’s programs can be found on their website at www.lessedra.com n

Christo Kardjilo, Bulgaria and Beate Scheller from Germany fix a plate.

Pulling a print.

Susan Herrell Fieldes from New Zealand.

10 / Interleaf • Summer 2014

Renew your Membership for 2014!Among services offered on the web is an online gallery, where

each member in good standing may post up to six images, a curriculum

vitae, and an artist statement on an individual 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:• The Last Hurrah at the Blue Whale!• A look back at the LA Print Space • Members News• Scuola Internazionale di Grafica a Venezia• Lessedra

S P R I N G 2 0 0 7

S U M M E R 2 0 1 4

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 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]