“PRESS ON” Prints from the Los Angeles Printmaking Society’s Board and New Members

Supplement to Newsprint Spring 2017

On January 3, 2017, the Los Angeles Printmaking So-ciety Board Members and 2016 New Members show-

cased their work at the Santa Monica Art Studios’ Hangar Gallery South. Sherry Frumkin and Yossi Govrin, the Direc-tors of the SMAS, graciously donated the space to LAPS with the help of Jack-ie Nach, a resident artist at Santa Moni-ca Art Studios and member of the LAPS Board. For those who have not visited the venue, SMAS is located on Airport Avenue in Santa Monica in an historic airplane hangar next to the Santa Moni-ca Airport. This 22,000 square foot han-gar hosts private artists’ studios, classes, lectures, and exhibitions. Within this hangar is a vibrant community of artists

involved in discussion, critique and col-laboration.

One of the reasons for this exhibition was to highlight the accomplishments and dedication of the Board of Directors. I have been on the Board for a year and a half and have seen the amount of time and energy each member has invested into LAPS. All of us are volunteers, and there is very little reward for being on the Board, besides the coffee and snacks at meetings. I love working with such a talented and generous group of artists, but we are currently going through a lot of changes with members stepping down and retiring. We really need new people to step up, and I thought this might be a great way to recruit new members and

By Karen Fiorito

John Greco, LAPS Board member.

FROM THE PRESIDENTS:Dear LAPS members,

Rachelle Mark and I will be the new co-Presidents of LAPS. We are looking forward to promoting our organization and the exhibitions and programing for this year. These are critical times for all the arts and printmaking is a means to dialogue on our strengths and the possibilities for social activism through art. One of our goals is to arrange for print portfolios focused on these critical concerns for today’s world: our environment, global warming, wildlife, social conditions for minorities to name a few. Our goal is to have different themes for portfolios of work for exhibition oppor-tunities that we will pursue. Karen Fiorito, exhibitions chair, is actively engaged in our opportunities for exhibitions and exchange shows throughout the year.

We will also lead an Inkubator session on artist activism at SGC in Las Vegas, April 4th through April 7 in 2018. If you are going, please reach out to me, Linda Lyke and we can meet as a group infor-mally. Our Board is working on the next national, LAPS 22 under the leadership of Mary Sherwood Brock and Mary and Clovis Blackwell, our corresponding secretary, are nearly finished with the new Website. Poli Marichal, New Members Chair, is working on the new member’s submissions and events involved with this group. We have an active Board who are composed of artist/printmak-ers who are very dedicated to LAPS.

We always look forward to hearing from you and your ideas to make our organiza-tion more effective. I have been a member of LAPS since coming to teach at Occiden-tal College many years ago and previously served at President of LAPS. I look forward to meeting many of you at Conferences or through your excellent prints. Our national members are very important to us and we look forward to serving you.

Linda Lyke, Professor of Printmaking, Occidental College

Rachelle Mark continued on page 2

continued from page 1

also to reward the Board for all of their work and sacrifice. We also wanted to highlight our New Members who were juried into LAPS in 2016.

16 Board Members and 7 New Members showed a total of 59 prints in this exhibition, entitled “PRESS ON!” A requirement for being in the show was that each artist was asked to install his or her own work. Because of this, there was a real sense of collabora-tion on installation day. What made the in-stallation of this show challenging was that we only had one day to hang the work, and there was no time to curate on the spot. I developed a plan by doing a virtual layout of the show in Photoshop and had all the artists send me their images. After 8 hours of hemming and hawing, I had the layout. Or so I thought: the best laid plans, well, you know the rest. Luckily some of us Board Members worked together to figure out a solution, and the show looked even better than my layout predicted.

As Exhibitions Chair, my job is not only to arrange exhibition space and wrangle artists, but also to design the show cards and signage, supervise the installation, and oversee the printing and labels. Our Trea-surer, Kay Brown, was kind enough to han-dle the labels (a huge task in itself) while I concentrated on everything else. Although the installation of artwork only took one af-ternoon, it took me the rest of the week to manage the finishing touches. Fortunately, long time Board member and former Exhi-

PRESS ON

2 / Interleaf • Spring 2017

Jackie Nash, LAPS Board member.

New members Yvetter Mangual and Peter Hess.New memeber Yvette Mangual hanging her work.

bitions Chair John Greco was there for me and saved the day twice! We managed to do in a few hours what would have taken my 2 days! In the end, the show looked amazing and was a great success. We were lucky enough to have an opening reception and a closing reception, piggy-backing on the Reading Footprints, A Group Exhi-

bition of Contemporary Women Photography and Video in the Arena 1 Gallery and the Art LA Contemporary, an international contemporary art fair of more than 60 lo-cal and international galleries. Even with a very small budget, we were able to get a lot of people to attend our exhibition and even made some sales!

Being at the Santa Monica Art Studios for a week, I got to meet some of the artists and listen in on their discussions and cri-tiques. It made me realize how important it is for artists to have a sense of community. That is one of the reasons I joined LAPS and maybe why you joined also. However, the success of our group depends on the contribution of our members, especially our Board. I urge you to consider getting more involved in LAPS. We need more people like you to join our Board of Direc-tors and our Exhibitions Committee. Yes, it can be hard work, but it is also be a lot of fun and very rewarding! n

Opening Reception: January 14th, 2017 6-9PMExhibition on view January 3rd to January 29thPARTICIPATING ARTISTS:Kay Brown, Clovis Blackwell, Michelle Dakan, Judy Dekel, Karen Fiorito, John Greco, Kristina Hagman, Dirk Hagner, Pe-ter Hess, Linda Lyke, Yvette Mangual, Poli Marichal, Rachelle Mark, Diane McLeod, Valentina Mogilevskaya, Jackie Nach, Isela Ortiz, Sarah Pavsner, Doug Pearsall, Elizabeth Rosetta, Masha Schweitzer, Mary Sherwood Brock, and Ellen Winkler.

LAPS at the 2016 LA Printers Fair!

At the 2016 La Printers Fair held by the International Printing Museum in Carson, CA.Clockwise from top:Seen in photos at LAPS Booth; Juan Rosilla and Valentina Mogilevskaya Quezada, and Barbara Salanitro.

Interleaf • Spring 2017 / 3

Los Angeles was treated to several extraordi-nary print

exhibitions last season, none as special as the first major retrospective in the US of the work from Cuban print-maker, Belkis Ayon at the Fowler Museum at UCLA where the exhi-bition had drawn wide-spread acclaim before closing February 12th. The Board of the LA Printmaking Society was treated to a private tour by the curator, Cristina Vives, who is based in Havana and was a personal friend of the artist. Vives provided insight into the devel-opment of the artist’s iconography and as an artist. The exhibition included her stunning collograph plates along with the celebrated print, “La Cena” that gave insight into her technique with the plates and handling to create these mon-umental prints in sections. The print,

Nkame: A Retrospective of Cuban Printmaker Belkis Ayon

at the Fowler Museum

wind creativity, and just as her reputation was growing beyond Cuba. It is of note that in such a short time, she created such a powerful body of work that continues to mystify and inspire, as her work has become better known.

According to Vives, Ayon made 3 fateful decisions early in her career that impacted her artistic future and led to the five distinct bodies of work on dis-play. One was to create imagery based on the mythology of Abakua, a small, secret society that

developed in Cuba from African roots and one that does not allow women as active members. Even though she herself was not a member of this cult or even necessarily a believer, her artwork created a conduit for powerful iconic imagery, one that reinter-pretated the symbolism by focusing on the sole female character in Abakuan mythol-ogy, Sikan. According to Abakua, Sikan is sacrificed for revealing the “truth’ and this

like many on view filled the wall at 5' by 10', was printed in six panels on 6 sheets of paper. Vives also shared the bereave-ment and feeling of loss for this unique artist by her family, friends, students and the art world. Ayon committed suicide in 1999 at the age 32, after 12 years of whirl-

By Mary Sherwood

4 / Interleaf • Spring 2017

The Late Cuban printmaker Belkis Ayon took her life in 1999.

concept is hard not to see mirrored in Ayon’s own death. Many at first confused her work as folkloric, but according to ethnologists Orlando Hernandez, Ayon inserted her own self portrait to represent Sikan, thus replacing the iconography of the sacrificed goat that usually represents the goddess in the traditional Abakuan mythology. She used the visual narratives of Abukua to create her own indepen-dent and powerful visual iconography. Just by inserting the image of a strong Black Cuban woman into the center of this particularly Cuban mythology, she reclaimed her identity as a contemporary Cuban artist. Her imagery is rich with interpretations of the mysterious, the sa-cred, the iconographic and the personal that brought this viewer back for multiple visits.

Other noteworthy decisions the art-ist made early in her career were to work solely in printmaking using an innovative approach to collagraphy that allowed both intaglio and relief inking techniques with-in each impression. After her initial prints, she decided to use exclusively the boldness of black ink on white paper to print all her plates. Most of the prints in this exhibition are large scaled, and many were made for exhibition at the 1993 Venice Biennale and had to be modified to be presented at the Fowler. So it is especially notable that these artworks were made in the 1990s, a time when Cuba was undergoing severe short-ages for all manner of supplies. Perhaps the use of cardboard, varnish and black ink had practical purposes, but she used these limitations to stunningly bold effect. There was no denying the power of the eyes that would draw one across the room for a clos-er look, as eyes are in every one of her im-ages.

This extraordinary exhibition came together thanks to the collaboration of many generous people including most no-tably Ayon’s sister, Dr. Katia Ayon Manso, the guest curator Cristina Vives, and the local Los Angeles gallerist Darrel Cou-turier, whose gallery specializes in Cuban artists. Ayon was scheduled to have a show in Los Angeles at Couturier Gallery later in 1999, and those final prints made for that exhibition were here on display and are markedly different than the rest of the work. All are large round plates on single sheets with the powerful imagery of a vor-tex. Seeing these images finally in Los An-geles, one can only see the energy of these vortexes as a new type of self portrait for the artist, one that may have engulfed her in the end. n

Interleaf • Spring 2017 / 5

Detail - La Cena,(The supper) 1991, collograph, 1380 x 3000 mm. Below, detail from Nlloro, 1991.

Cristina Vives, guest curator of this retro-spective, a personal friend of Ayon and an independent curator based in Havana, gave LAPS Board members a walk through of the exhibition in December, 2016.

Gustave Baumann (1881–1971) was a pioneer in the devel-opment of the color woodcut in the United

States. Although he is best known for his bucolic scenes of the Midwest and his majestic imagery of the American Southwest, he made twelve powerful color woodcuts depicting the natural beauty of the Golden State. Inspired by seven automobile trips to Califor-nia between 1927 and 1940 and his long drives up the scenic coast from

Gustave Baumann in CaliforniaMarch 5, 2017–August 6, 2017, Museum of California Art, Pasadena

San Diego to San Francisco, the works portray California’s coastline; its redwood, sequoia, and Torrey pine forests; and its Spanish-influ-enced architecture. The exhibition brings the California works together with a selection of Baumann’s forma-tive color woodcuts of rural Brown County, Indiana—five from his Hills o’ Brown series and three of his larg-est color woodcuts. Baumann exhib-ited these Indiana woodcuts at the 1915 Panama Pacific International Exposition (PPIE) in San Francisco

where he won a gold medal for print-making. Gustave Baumann in Califor-nia includes works by the two California printmakers most directly affected by the PPIE print exhibition, Frances Gearhart and William S. Rice. To illustrate Bau-mann’s printmaking process, the exhi-bition incorporates didactic materials, including a tempera study, a set of wood blocks, and a series of progressive proofs for his color woodcut, Singing Woods. There are also tempera studies of San Francisco before the bridges and of the then-quaint village of Laguna Beach. n

6 / Interleaf • Spring 2017

When film noir arrived in American theaters in the 1940s, audiences saw the

first stirrings of a new and exciting film style in a handful of American studio system films such as The Letter (1940), Maltese Falcon (1941), Laura (1944), and Double Indemnity (1944). Audienc-

end of the classic noir era. The best films of the noir cycle in

the classic era are tales of transgression with a world-weary sensibility and a subversive world view.

Ann Chernow’s series NOIR, a se-ries of stone lithographs, embraces this transgressive potential of noir. At first

Original Transgressions:Women and Film in Ann Chernow’s NOIR

Richard L. Edwards, edited by Dirk Hagner

Mona Lisa

It was a subversive and transgressive role, a new power position that upset the patri-archal order of earlier Hollywood films, ex-pressing new possibilities and new roles for women in postwar America.

Though frequently touted for its for-malist embrace of style, noir thrives on a revealing and trenchant realism.

NOIR accentuates the visual dom-inance and mobility of women often by positioning her female subjects on a physical threshold. As staged by Cher-now, each woman occupies a liminal zone that provides her the freedom to be in control of her actions and her move-ment. Her women resonate with emo-tional and psychological heft through the careful orchestration of gestures, poses, and expressions.

The seductive and sensual qualities of film noir’s dangerous women are show-cased in these lithographs. “All Choked Up” is structured around a hallmark of the noir style: the low angle shot. These combined elements dare us to make ei-ther a prurient or fatal interpretation of this shocking scene. Chernow’s “Mona Lisa”, with her cigarette and wild plat-inum hair, might conform to existing stereotypes of noir’s “bad girl.” But, as with other prints in this series, we should tread carefully. There is an uncanny af-terimage in “Mona Lisa” that appears to be a silvery roll of celluloid rising from her exhaled plume of smoke—a self-conscious reference to the medium of film itself. In “Rendezvous in Black.”, Chernow exploits the use of black neg-ative space and gives us only a partial, voyeuristic glimpse of an illicit encoun-ter between doomed lovers. In true noir fashion, there will be no happily-ev-er-after. n

es had not previously seen this kind of gritty and fateful crime thriller.

Commonly identified by its formal use of shadows, night scenes, and low angle shots, films noir were typically set in the dark underbelly of a city and populated by hard-boiled detectives, marginal criminals, corrupt officers, and dangerous women. It wasn’t until 1946 that French critic Nino Frank coined the term film noir. Hollywood studios continued to produce hun-dreds of films noir with the 1958 Touch of Evil commonly acknowledged as the

glance, these lithographs seem to be lost stills from a newly discovered ar-chive of classic films. But looking clos-er, we recognize that Chernow’s imag-es are new compositions that, like film noir, encapsulate a fraught and ver-tiginous world in a singular moment. The lithographs in her NOIR series implore us to look with fresh eyes into the dark heart of noir.

Chernow’s lithographs focus mostly on women, especially one of film noir’s most storied and iconic character types: the dangerous woman or femme fatale.

Interleaf • Spring 2017 / 7

In conjunction with the recent ex-hibition, “The Serial Impulse at Gemini G.E.L.” that celebrated 50 years of innovative printmaking at

the renowned Los Angeles print work-shop, LACMA hosted a panel discussion with the shops master printers, past and present. The evening gave insights into the collaborative process between artists and printers and also to Gemini’s early development and success.

Sidney Felsen, Gemini’s co-founder, and Leslie Jones, the co-curator of the exhibition, started the discussion off by talking about the founding of the shop in 1966, just one year after LACMA itself was founded. Sidney spoke of the essential influence of the first artists to show up and how they affected every-thing that would follow. When Sidney picked Rauschenberg up at the airport, he mentioned he wanted to do a “por-trait of the inner man” and Sidney won-dered what that would mean. The next day Bob proposed getting a full body x-ray for this project. X-ray machines were fairly rare at that time, though as luck would have it, Sidney’s best friend from high school was an x-ray techni-cian. Then they were on to solve the next problem; how to print the 6 foot image! The famous print “Booster” be-came the largest hand pulled print at that time, creating an instant celebrity that cemented the shops reputation for

innovation and scale.The first major undertaking of the

shop was with Josef Albers, the Yale painter and color theorist. Albers worked long distance from New Haven, talking by phone with the printers and coming out periodically to see the results. Jim Webb spoke about how Albers would send his color samples painted on thin cardboard that had been cut in half, one for LA and one to keep, and how metic-ulously he would use these to check ev-ery print. The series of 16 prints, “White Line Squares” on view in the exhibition was the first series for Gemini and anoth-er early success.

Next the master printers, Ron McPherson and Tony Zepeda, talked about working on projects with Rauschenberg, Jasper Johns and Michael Heizer. Each project devel-oped some new dimension to the shop’s fa-cilities along the way. Mas-ter printer, Jim Reid, speak-ing via a taped

Unsung HeroesThe Serial Impulse at Gemini G.E.L.

at LACMA, September 2016 – January, 2017video, observed that problem solving is the challenge every day for the printer. He also talked about working with Roy Lichtenstein on the series “Expression-ist Woodcuts” where the artist eschewed using any of the available professional carving tools, preferring to carve each of blocks by hand using only an E-xacto knife and sheer grit.

The next group to join the stage were Richard Kaz, Xavier Fumat and Case Hudson. Xavier has been working ex-clusively with sculptor Richard Serra for more than a decade in a dedicated area of the shop, now called the “Serra Print Studio” to handle the artists’ prolific output. Each labor intensive Serra print, takes several pounds of thick black ink and a specially designed hydraulic press, bringing new meaning to the word: “in-taglio”. Case Hudson has led a team of printers for the past 2 and half years working with artist Julie Mehretu on the series, “Myriads, only by Dark”. He re-vealed that one of his earliest inspirations to become a printer came from reading issues of Art in Paper where most like-ly, he first learned of the celebrated print shop where he now works.

At fifty, Gemini GEL has produced more than 2,000 innovative works on paper and 300 sculptural editions, a tes-tament to it’s impressive legacy of inno-vative collaboration and boundless cre-ativity. n

Above:The LACMA panel. Below: Roy Lichtenstein at work. Photo: Sidney Felsen)

8 / Interleaf • Spring 2017

Pomona College Museum of Art January - May 14, 2017

Ingrid Manzano Stein, Atmosphères - Playing with Ligeti, solo show at Atelier Krebsmühle, Nov./Dec 2017, Hofheim, Germany; solo exhibition of etchings & mixed media at Mirjam Steinfeld, started Feb. 2017, Frankfurt am Main, Germany.

Dirk Hagner, Southern Printmaking Biennale VII, 2016, University of North Georgia, Dahlonega, GA; Brand 44th Works on Paper, 2016, Brand Galleries, Glendale, CA; Site: Brooklyn, 2016, Brooklyn, NY; From Palate to Plate, 2016 Fundraising Invitational, Laguna Art Museum, Laguna Beach, CA; Atypical Topographies, Cloyde Snook Gallery, Adams University, 2016, Alamosa, CO; Global Matrix IV, travelling exhibition 2017-2018, Purdue University, West Lafayette, IN; The Boston Printmakers: State of Mind, 2016, Exeter Academy, Exeter, NH; Still Life – Past and Present, uBe Gallery, 2016, Berkely, CA; Press On, Los Angeles Printmaking Society, 2017, Hangar Galleries, Santa Monica, CA.

Walter Askin, one-person exhibit at Luckman Gallery at CALState University, Sep.- Oct. 2015 in Los Angekes, CA; Walter Askin and Wayne Kimball, BYU Museum of Art at Brigham Young University, Apr. - Aug. 2017, Provo, UT; Walter also was informed that June Wayne gifted 9 of Walter’s lithographs he created at Tamarind in LA to the National Gallery in Washington, D.C. in 2016.

Grant McGean is showing his mini

Member News

Interleaf • Spring 2017 / 9

Large Etching PressLaguna etching press, 32 inch x 60 inch bed size, motorized. $3,500.Lithography PressCustom built lithographic press, 31 x 48 inch bed size, motorized. Comes with 6 stones, leather roller, levigator, and scraper bars. $3,200.Large Paper Cutter Ingento 36-inch paper cutter with extra shelves. $200.

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FOR SALE

Goya: “And there is no remedy”.

“Goya’s War” presents the complete set of 80 etchings published as Los Desas-tres de la Guerra (The Disasters of War) in 1863. Francisco de Goya y Lucientes (1746-1828) etched the 80 plates that comprise the set in reaction to the hor-rors of the Napoleonic invasion of Spain and the political turmoil that followed. Created 200 years ago, these prints re-main relevant to our world. They have inspired generations of artists—Manet, Picasso, Otto Dix, Warhol, the Chap-man brothers, and Enrique Chagoya. Individual prints continue to be used as illustrations in contemporary political commentary.

Given their subjects of death, bru-tality, and the impact of war on civilians of all ranks and ages, Los Desastres de la Guerra are not easy to look at, and per-haps for this reason are rarely exhibited in their entirety. A collaboration of the Pomona College Museum of Art and the University Museums, University of Del-aware, this exhibition and the accompa-nying catalogue present all 80 prints of the fine first edition from the collection of the Pomona College Museum of Art. It is curated by Goya scholar Janis Tom-linson, Director of the University Muse-ums of the University of Delaware.

Tomlinson proposes a departure from the traditional installation that fol-lows the sequence of etchings imposed some years after they were created and standardized in the first edition of 1863. Breaking with the published sequence, she invites us to consider the artist’s en-deavor within its historical context by

Goya: Los Desastres de la Guerra

presenting the etchings in five groups -Carnage, Atrocity, Martyrdom, Fam-ine, and Emphatic Caprices—that reveal Goya’s clear stylistic evolution over the four years (1810-14) during which he etched these plates.

The exhibition is accompanied by an illustrated catalogue, with essays by Tomlinson and Kathleen Stewart Howe, the Sarah Rempel and Her-bert S. Rempel ‘23 Pomona College Museum of Art and Professor of Art History.

Following its inauguration at the University of Delaware, the exhibition

traveled to the Frist Center for the Vi-sual Arts, Nashville, TN; The Krannert Art Museum and Kinkead Pavillion at the University of Illinois, Urbana - Cham-paign; The Colorado State University Art Museum, Fort Collins, CO. The final stop of the tour returns it to the Pomona Col-lege Museum of Art, Claremont, CA. n

prints on his online gallery Green Book Page.

Cathie Crawford, Woodblock Prints, May 2016, Moryork Gallery, Highland Park, CA; Woodcut Prints, The Speakeasy Art Center, Sep. 2016.

Talmadge Doyle, Shifting Migrations, Karin Clarke Gallery, Nov. 2016, Eugene OR.

Toru Sugita, 11th Turner National Print Competition, Jan. - Mar. 2017, Janet Turner Print Museum, CALState Chico, CA.

Deborah Meadows, Office Hours, at the Main Museum of Los Angeles, Dec. 2016. She also commissioned by the Museum to write a poem that she titled “Office Hours, a group show”, Los Angeles, CA.

Leslie Brown, Old Broads III, Progress Gallery, Jan. 2017, Pomona, CA.

Sandra Wolfson, after her move to Northern California holds a residency at KALA Institute, Berkeley, CA.

Masha Schweitzer, Ink & Clay 42, The Keith and Janet Kellogg University Art Gallery, California State Polytechnic University, Pomona, CA, Sep. – Oct., 2016; 2016, A State of Mind – Boston Printmakers Members’ Show, Lamont Gallery, Phillips Exeter Academy, Frederick R. Mayer Art Center, Exeter NH, Oct. – Dec. 10, 2016; MAPC Members’ Exhibition, Carnegie Center for Art and History, New Albany, IN, Sep. – Oct., 2016; California Society of Printmakers- Dreams and Imagination, Merced College Art Gallery, Merced, CA, Sep. – Oct. 20, 2016; California Society of Printmakers – 103rd Annual Exhibition, Piedmont Center for the Arts, Piedmont, CA , Sep. – Oct., 2016. n

Renew your Membership for 2017!

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, 2016

❍ 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:• LAPS “Press On!”• LAPS at LA Printers Fair• Belkis Ayon Retrospective• Gustave Baumann in California• Unsung Heroes• Goya’s Disasters of War• Ann Chernow’s Noir

S P R I N G 2 0 0 7

S P R I N G 2 0 1 7

The new LAPS web site is in the works!The new site will have a totally new look as well as new programming that will make it easy to access on all smart phones, pads and computers. The new site will have an interactive calendar that will keep our membership current on all our projects, link to social media such as the LAPS Facebook page with news and recommendations. The archive of past LAPS projects and exhibitions will be easier to use and include information that printmaking artists can share in their studios. The new online gallery space for our members will be more dynamic with random posts that showcase the work of LAPS artists. There will be a way for our members to pay for their membership online, access and down-load the latest Interleaf and in the future, find all LAPS catalogs. Thanks for your patience in the meantime. We hope you will find it well worth the wait! Please see LAPrintmakers.com.

Please send members activities or other items for Interleaf as a plain text file to: dirk@dirkhagnerstudio.com

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: studiosherwood@sbcglobal.net