Interleaf • Summer 2014 - Los Angeles Printmaking Society

Supplement to Newsprint
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 gallery 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 Paintbrush along with the LAPS 2013 New
continued on page 6
The Last Hurrah!
Summer 2014
The LAPS 2014 Juried Membership Show
By 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.
M
imi Williams’ linocut Stolen Moments could be likened to an
Impressionist painting, a colorful, 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 woodcut print was based on the traditional broadside printing format combining haiku, “not
classically texted,” with typography of early
continued on page 2
selected from 240 entries by traveling
along the left-hand wall into a small gallery 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, equidistant 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 represented with a 4-color polymer plate intaglio, 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-
continued from page 1
American printed announcements.
Classic haikus and pissing? “Dissonant
visual elements are embedded to add
some acidity to the perceived romantic notion haikus have acquired,” said
Dirk in his statement.
With similar brazenness and discordant 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. McShitter, a linocut in exquisite detail by
Carlos Barberana also brought contemporary images into old time Master
Pieces of Art, explained Carlos, themes
using their titles and compositions to
i Pa-
address difficult contemporary issues
such as environmental pollution…
You could view the LAPS 2014 Juried Membership Exhibition of 67 prints
/ Interleaf • Summer 2014
Left to right: Judy Chan, Diane McLeod
and Annie Stromquist.
The LAPS Board members decided
to celebrate the gallery’s closing by opening 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 imagery and techniques. She said that what
didn’t make it in could easily comprise
another excellent exhibition. As coordinator, 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 McGean from Canada, minimal and intriguing, 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.”
complished her intent to evoke a “sense
of waiting and wanting and a mixture of
hope and despair.”
Also dealing with relationship tensions, 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-
glios with chine colle and collage. Powerful, rollicking, psychologically and media laden, they dealt with “a playful twist
of angst and feminine empowerment,”
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
revisionist works of the childhood tale.
Of the many fine intaglios, two stood
out for me, Katharine Gross’ 10 x 8 inches 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 angular Atmosphere 4 was a pastel puzzle
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 enjoyment of what she viewed, completed with
masterful execution. My Angels and Demons, Demons and Angels – the same one,
stood 9 inches high, 32 inches wide and 40
an etching/aquatint. The print of Katharine, who is a master etcher, was dense
with somewhat real and imagined creatures. The “Beauty and the Beast” which
she says is the theme of her work, are
metamorphosing, growing exaggerated
sexual, sensual parts, delectably fascinating 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 rather realistic depictions of people on the
street and a view from three windows of
outside buildings. Their beauty was remarkable.
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 perspective 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.
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 website for more.
Many thanks to all the volunteers, including exhibiting artists, who gave of
their time and energies to make this exhibition possible. Special kudos to our gallery 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 involvement greatly helped to make possible our
successful final show at the PDC. n
Interleaf • Summer 2014 / 3
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
Interleaf • Spummer 2014 / 5
Member News
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.
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
IN MEMORIAM
Martha Brundage, artist, LAPS
member, and Pasadena City
College professor has died. Born
in 1938 in Whittier, CA and graduated from Art Center College of
Design in the 1950s. Two decades
later she earned a MFA at CSU
Fullerton, focusing on printmaking. Her work, which specialized
in lithography, was shown widely
throughout southern California
as well as nationally.
an article about Ann and her work
with the organization.
Ann Chernow was featured with
her picture in the front page article
Regular
Members
-Changes
Jon Goebel
200 W Kawili St
Hilo, HI 96720
Cell: 808-895-6819
jerseypresyahoo.com
Vanessa Hall-Patch
[email protected]
Raluca Iancu
University of Tennessee
School of Art
1715 Volunteer Blvd
Knoxville, TN 379962410
Diane McLeod
[email protected]
Sarah Pavsner
2938 1/2 Triunfo
Canyon Road
Agoura, CA 91301
Michelle Winkler
Masha Schweitzer, A Fine Affair,
310-598-9301
Matthew
“Carson” Day
6110 Cahuenga Blvd.
apt #10
North Hollywood, CA
91606
812-322-4798
[email protected]
www.mcarsonday.com
Traci A. Durfee
537 E, 3rd. Street
Long Beach, CA 90802
978-361-6289
[email protected]
www.tracidurfee.com
Rebecca Harvey
Pollack
2827 Putnam St.
Los Angeles, CA 90039
323-333-5010 cell
continued on page 1
Members show, assisted with many show
installations, and kept the exhibition information up to date on the LAPS website
and LAPS Facebook page. Give & Take
was organized by Cathy Weiss, Holly
Jerger, Sarah Pavsner and myself. Finally, Diane McLeod coordinated Last
Hurrah at the Blue Whale, an appropriately 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
/ Interleaf • Summer 2014
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
323-663-5156 home
[email protected]
New
Regular
Members
From the President
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 exhibition travels to the Jerusalem Print
Workshop, Jerusalem, Israel, Dec.18,
2014 – Feb. 13, 2015.
Julie Hunter Bagis
2731 Angus St.
Los Angeles, CA 90039
323-666-3898
[email protected]
www.JulsPottery.com
Leon Loughridge
2377 S. Downing St.
Denver, CO 80210
303-956-2994
[email protected]
www.dcartpress.com
Ethan A. Rice
1817 Euclid St apt #1
Santa Monica, CA
90404
802-578-2080
[email protected]
www.ethanarice.com
John Tallacksen
1431 Valencia St.
Los Angeles, CA 90015
FOR SALE
Ingento 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.
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 participating 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 n
2014 LAPS FOUNDATION
SCHOLARSHIP AWARDS
RECIPIENTS
Taylor Guerra – CSU Long Beach­ — $500
Erin Kennedy ­–Saddleback College — $500
Nora Ayala – CSU LongBeach — $300
CONGRATULATIONS!
Grand canal in
front of Venezia
“Sta Lucia” train
station.
Five weeks residence at
Scuola Internazionale di
Grafica a Venezia
Printmaking in Venice
E
ven 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
By Juan Rosillo
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 printmaking in Venice and at a University of
Granada in Spain. The Scuola is meticulously 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 perfect condition for artists to use.
There are various etching presses available in the open studio and
you have your own studio space with
table and a view, so you are dreaming 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 preferences, all this makes it hard not to
fall in love with this city.
The director and founder of the
Interleaf • Summer 2014 / 7
Venezia
“la Serenisima”.
school is la signora Matilde de Castro, a
veteran printmaker who has traveled extensively and visited numerous print studios around Europe. She is a true Venetian 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 always ready to help and guide you during
your residency.
I established my working hours to accommodate time to see museums or walk
through the city, which itself is a living
museum. Venice gives one a unique feeling of being an antique city, but where
people are going about their daily lives as
Juan Rosillo and Matilde de Castro, Scuola studio director and professor.
Lorenzo de Castro. Scuola internazionale
di grafica a Venezia director.
/ Interleaf • Summer 2014
well. Visiting Venice when it is not full of
tourists is always a plus. As one gets familiar with the city, which is only around
5 square miles, you can enjoy getting
lost, favoring this place that has no parallel and thinking about the history of “La
Serenissima”, home of some of the most
important Renaissance and Baroque artists. 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, religions, 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 active 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 octavo 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 history 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 Venetian 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 explorer 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 busses 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 Albicoco 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
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.
Below, left to right:
Eva Svitek, artist
in residence and
Roberta Rupi Feoli,
studio manager.
Interleaf • Summer 2014 / 9
LESSEDRA
A Printmaking Community in Sofia, Bulgaria
This story was submitted by Ann Chernow and edited by Mary Sherwood and Dirk Hagner
T
he 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 accepted 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 international jury and a full catalog is
produced. Selected artists are featured on Lessedra’s website.
The international participation in Lessedra’s Miniprint Annual helps support the Lessedra programs. At one occasion a
participating artist wrote on his
blog about his acceptance experience, 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 photographed and identified. Accepted 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 unsold during the exhibition, as well
as administrative costs such as
promotion and the coordination
of jurors. Unaccepted works are
10 / Interleaf • Summer 2014
Christo Kardjilo, Buldaria and Beate Scheller
from Germany fix a plate.
Pulling a print.
Susan Herrell Fieldes from New Zealand.
returned and the entry fee is refunded to those applicants. Lessedra 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 providing 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 involvement with the Lessedra Art Village and Art Academy in Lessidren, 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 exchanges between artists, critics,
students and collectors. Lessedra
encourages artists to participate in
its programs.
Starting in the late 1980s with
local artists the Lessedra Collection 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
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]
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
❍ Student Membership
$15
(with proof of enrollment)
Name:_________________________________________
Address:_______________________________________
_______________________________________________
Phone:_________________________________________
Email:__________________________________________
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 Treasurer
PO Box 1547
South Pasadena, CA 91031
Checks should be made payable to LAPS.
❍ Regular Membership $50
❍ Associate Membership $40
$60 after March 10, 2014
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.
Please send members activities or other items for Interleaf as a plain text file to: [email protected]
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 encourage every member to take advantage of your membership page on the LAPS website. And if you have a page alreadythen 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.
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
S U M M E R
2 0 0 7
2 0 1 4