Posts Tagged ‘printmaking’

Faculty Updates

Saturday, June 3rd, 2017

What have SVACE faculty members been up to? We have exciting updates from course instructors Jade Doskow, Elise Engler, Emily Weiner, and Pan Terzis!

Jade Doskow will speak at SVA about Lost Utopias, her ongoing photography and book project. Doskow is known for her rigorously composed and eerily poetic images that examine the intersection of people, nature and time. Her talk is part of the i3: Images, Ideas, Inspiration lecture series, which features photographers and industry experts, presented by SVA MPS Digital Photography.

Image via Jade Doskow

Image via Jade Doskow

Elise Engler is featured in The Times, a group exhibition at the FLAG Art Foundation that takes The New York Times as its point of departure. The Times includes over 80 artists, artist duos, and collectives who “use the ‘paper of record’ to address and reframe issues that impact our everyday lives,” according to the press release. Given Engler’s project, “First Radio Headlines Heard of the Day,” her daily documentations of news updates are perfect fit for the show – and above the fold.

Image via Elise Engler @drawitall

Image via Elise Engler @drawitall

Emily Weiner is featured in The In, With and Between Us at the Gerðarsafn – Kópavogur Art Museum, Iceland! Focused on four artists, including three MFA alumni from the School of Visual Arts, the show comprises “a research-based conversation around non-linear readings of place and time, language and translation.”

Pan Terzis opens up to The Comics Journal about printing, publishing, and politics in his collaborative practice. He writes, “Publishing other artists’ work has been extremely gratifying. I benefited early on from other people going out of their way to publish, promote, show, and sell my work so I feel I owe a debt of gratitude to the universe and it feels good to give other artists the same opportunity.”

Image via The Comics Journal

Image via The Comics Journal

See more updates on our FacebookTwitter, and Instagram pages!

Student Artwork Update: Dominic Montwori

Friday, February 12th, 2016

We are pleased to present artwork by SVACE student Dominic Montwori! Dominic created his work in conjunction with the courses, “Silkscreen” with Gunars Prande, “Silkscreen Projects” with Donald M. Sheridan and Dominick Rapone, and “Textile Printing: An Introduction” with Larry B. Wright. See Dominic’s work in our exhibition space at 380 Second Ave until February 29th!

Artwork by Dominic Montwori

Artwork by Dominic Montwori

Dominic writes:

“My art reveals my particular way of viewing the world. Abstraction is the language of my work and it gives me the opportunity to invent new forms. The sources of inspiration for my art are images in surroundings that are often unnoticed, landscapes that are not appreciated, and objects that are ignored; representing people and their sets of interests which may be perceived as insignificant. Abstraction, then, can serve to be a political force. My work expresses the importance and beauty in some of the overlooked and nearly invisible things of life, giving the viewer a glimpse of the intangible.”

Artwork by Dominic Montwori

Artwork by Dominic Montwori

See more of Dominic’s work at his website.

Artwork by Dominic Montwori

Artwork by Dominic Montwori

Artwork by Dominic Montwori

Artwork by Dominic Montwori

Wrong Tools

Wednesday, October 14th, 2015

Wrong Tools at Andrea Meislin Gallery is the new exhibition of work by Ofri Cnaani, a faculty member of SVACE and SVA Summer Residencies.

Ofri Cnaani in "Wrong Tools" at Andrea Meislin Gallery

Ofri Cnaani in “Wrong Tools” at Andrea Meislin Gallery

Wrong Tools is home to both a recent print series of cyanotypes and a recurring performance featuring a small fortuneteller front office, where the artist is prepared to read your fortune three days a week.  Attending the exhibition with the artist present is exciting, and participating in the performance is at once earnestly inviting and winkingly tongue-in-cheek. There can be no better expression of this mix than Cnaani’s costume for the show – a nimbus cloud and baby blue sky patterned suit.

The show revels in the piquant obscurity of reproduction and recording processes.  Everywhere, from outmoded photograms to cheap digital print-outs, from live-stream video cameras to paper collage, Wrong Tools consistently earns its title.

The cyanotypes occupy the main gallery.  They are prints of objects and images arranged on a table and always include Cnaani’s hands.  All of these items and body parts are imprinted on paper using an old school pre-camera photogram technique known as cyanotype.  The sensitive chemical solution, made of potassium ferricyanide, is exposed to light, producing a negative image of anything that is placed on the prepared surface.  The ferricyanide, so exposed, bleeds blue.  


Ofri Cnaani, "Blue Print (OC real and fake hands) #1," 2015

Ofri Cnaani, “Blue Print (OC real and fake hands) #1,” 2015

The resulting image is as crisp as it is splotchy.  Materially aged, the image feels fresh for its processed layers and montage of exposure times, as well as the wonky perspective in which it places the viewer.  Cnaani’s hands appear to have depth due to the variable time spent in exposure, while imitation paper cutouts lie flat against the surface.  Meanwhile, bead necklaces, coins, etching plates, or cloth are arranged and recede out into the murky background for lack of impression time or too much light.  These effects manage to locate you somewhere underneath a table looking through to its surface, at the undersides of the things that rest on it.   From there, you get the impression that you are feeling through your eyes what a table feels when things lean on it.  These are intimate and familiar documents of close-at-hand objects as much as bizarre and active perception jambs.  They are each titled, with a cheeky self-evidence, Blue Prints.


The Artist is Present!

The Artist is Present!

Cnaani’s performance is related to all of this.  The artist (in her baby blue cloud suit) sits at her faux fortune teller booth, which more aptly resembles a modish office space, and invites you to offer one personal item and choose two others from the shelves at the wall behind her.  Once you have collected the three things, Ofri performs a mock tarot reading with cards, once flipped over, reveal evocative phrases like “You have the right to be left alone.”  


Ofri Cnaani at Andrea Meislin Gallery

Ofri Cnaani at Andrea Meislin Gallery

After this, the chosen items are placed on the table.  You will realize that the tabletop is made of transparent plastic, because there is a flatbed camera installed below the surface.  Ofri arranges your chosen items and some of her own while a projection on the adjacent wall reveals the real-time view from under the table.  This allows Cnaani to review the composition, and reveals an immediate kinship to the cyanotype prints in the main gallery. Once satisfied with her image, Cnaani covers the whole collage with a small drape to protect it from outside light.  

Ofri Cnaani performing at Andrea Meislin Gallery

Ofri Cnaani performing at Andrea Meislin Gallery

She will, with no small excitement, stare straight into your eyes, demanding your reciprocal gaze, and snap the picture while she has your attention.  The personified camera/printer device (apparently gendered female, though I didn’t catch her name) makes a clink, and a black and white copy pops out.  After a quick stamping and a red ink autograph (using the customary bamboo dip pen), she presents you with your very own “Original Copy,” clearly delighting in the absurdity of this pseudo-officialdom.  The resulting image – below is a reproduction of my own – is a visible fortune, if you care to read it.

The writer's "Original Copy" by Ofri Cnaani

The writer’s “Original Copy” by Ofri Cnaani

Conceptually, “Wrong Tools,” has a lot on its mind, but avoids being either too obscure or obvious in communicating it.  This is because the urgency and relevance of her work is so directly linked to the processes she runs it through. Between the “Original Copy” and “Blue Prints,” the viewer is confronted with objects as straight-forward and matter-of-fact as they are clearly and visibly wrong.  Cnaani, as orchestrator of it all, merely sits at her desk, as if she were but an innocent service provider: of art, meaning, and/or none of the above.  It would be facile to say that these works are a critique of our ways of building meaning in our contemporary post-digital world.  They are too compelling and enjoyable for that.  They are instead weird reveries, or a blunt-force reconsideration.  The joy is in the overstatement and therein might also lie the critique.  You might never take such indulgent pleasure, much less receive a more dubious souvenir, from such serious art.

-William Patterson of SVACE

Going Gray

Thursday, September 10th, 2015

Grayson Cox, SVACE faculty member and Residencies alum, is busy this season! Hot on the heels of a summer group show at Marc Straus, Grayson’s work is featured in two group shows this month.

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Grayson Cox and Nadja Frank, “Lost in Reality,” 2015

Halftone, a group show at Planthouse, features Lost in Reality (2015), a collaborative silkscreen and letterpress print with Nadja Frank. Grayson and Nadja teamed up last spring for SELF Check Out,a two-person show at the same gallery.


Grayson Cox and Nadja Frank, “Lost in Reality,” 2015

Published by the Artist at International Print Center New York (IPCNY) is a much larger group show, bringing together approximately 100 artists. The show focuses on self-published editions. Grayson will exhibit We came here on a meteor and evolved (2014).

We came here on a meteor and evolved

Grayson Cox, “We came here on a meteor and evolved” (2014)


Tune in to our Facebook, Twitter, and Instagram pages for updates about Grayson and other faculty members!

A Worker’s Progress

Friday, June 6th, 2014

Recently, David Sandlin earned a 2014 Guggenheim Foundation Fellowship.  The mega-prestigious award is a career milestone for any artist, but especially for an artist who has worked so ably between printmaking, painting, artist book projects, and teaching.  In addition to his studio practice and SVACE courses, David Sandlin guides MFA Illustration students through their thesis projects, from selecting an advisor to making a proposal into a finished body of work.  In other words, he puts many young artists on their first steps toward making mature work.  I wanted to look deeper into the history that led Sandlin to this moment and beyond.

David Sandlin, "Ooooh My Son, All This Is Yours (Walpurgis Nachtmart)", 2004

David Sandlin, “Ooooh My Son, All This Is Yours (Walpurgis Nachtmart)”, 2004

MB: First, do you have any particular plans for the Fellowship award?  That is, do you have a specific project in mind to complete?

DS: I’ve started work on a new series of silkscreened books about U.S. history and the ghosts that haunt the American Dream. It’s called 76 Manifestations of American Destiny. The plan is for six volumes, each consisting of 12 to 13 prints. Each volume will be bound as an accordion book that folds out to be about 27 feet long. I’ve got volume one finished so far.

David Sandlin, "Ooooh My Son, All This Is Yours (Walpurgis Nachtmart)", 2004 (detail)

David Sandlin, “Ooooh My Son, All This Is Yours (Walpurgis Nachtmart)”, 2004 (detail)

MB: You have been making and exhibiting art in New York for over 30 years.  For the Guggenheim application, how did you select images from your numerous books, prints, drawings, paintings, and objects?

DS: Even though I’ve been making work for over 30 years, for the proposal I could only show work from the past 5 years. I felt it was crucial that I be able to show excerpts from Slumburbia, the final volume in my series A Sinner’s Progress, which I finished in 2009. I thought it was important to demonstrate that I had already completed an ambitious series and was therefore capable of doing this one. I also sent images of Mort-Gage, a more recent project, plus images from the first volume of 76 Manifestations, to show that I was working on this new series and would continue to do so with or without funding.

David Sandlin, "Slumburbia," 2009 (detail)

David Sandlin, “Slumburbia,” 2009 (detail)

MB: The art world is larger than ever, and increasingly global, with new audiences in Latin America, the Middle East, and China.  What causes do you see behind these changes

DS: I think it’s an more exciting, decentralized art environment now because of globalization: fast communication via the internet, social media, more international art fairs, and globalized finance—and even tools like PayPal—make seeing and accessing art easier than ever.

MB: Do these changes actually create more opportunities for emerging to midcareer artists?

DS: I think so. Over the past few years, I’ve been invited to be in shows all over the place—Turkey, China, Switzerland, Scotland—and I’m going to have a solo show in Luxembourg next year… One way or another, my work is getting seen by people in far-flung places.

MB: The Guggenheim Fellowship is known as a “midcareer” award.  To what resources, skills, or talents do you attribute your longevity as an artist with an enduring career and substantial exhibition record?

DS: Persistence. I enjoy making art, and even when I get frustrated or burned out, I keep at it. I work as much as I can. I also think being versatile is helpful…as well as painting, I make prints, books, drawings, and comics. I am never lacking in projects, and all those deadlines keep me busy.

David Sandlin, SVA subway poster, 2011

David Sandlin, SVA subway poster, 2011