Most Recent Exhibition
Selected Previous Exhibitions
Environment: CBAA MidSouth Exchange
August 5 – August 31, 2021
Burroughs Wellcome Gallery, East Carolina University School of Art and Design, Greenville, NC
Burroughs Wellcome Gallery, East Carolina University School of Art and Design, Greenville, NC
Participating Artists:
Into the Fold
July 6 – August 21, 2021
The Coral Springs Museum of Art, Coral Springs, FL
The Coral Springs Museum of Art, Coral Springs, FL
This unique exhibition also invites viewers into the process of creating artists’ books by showcasing some of the printmaking and hand binding techniques IS Projects provides to its artists through behind the scenes materials like printing plates, early maquettes, original drawings, color swatches, and more! Museum goers are encouraged to create their own artists’ books with a simple book binding activity and a stamping station within the exhibition.
The beauty of the Existent Books project is that each artist is given complete freedom when translating their existing practice into a book format. Artists are tasked with examining how their paintings or sculptures can be transformed within a bound structure. As they explore narrative and sequence, each resulting book is as unique as the world in which they came from. Viewers are welcomed to experience these worlds unfolding as each artist’s typical, existing practice is displayed alongside their artists’ books in the museum.
This unique exhibition also invites viewers into the process of creating artists’ books by showcasing some of the printmaking and hand binding techniques IS Projects provides to its artists through behind the scenes materials like printing plates, early maquettes, original drawings, color swatches, and more! Museum goers are encouraged to create their own artists’ books with a simple book binding activity and a stamping station within the exhibition.
The beauty of the Existent Books project is that each artist is given complete freedom when translating their existing practice into a book format. Artists are tasked with examining how their paintings or sculptures can be transformed within a bound structure. As they explore narrative and sequence, each resulting book is as unique as the world in which they came from. Viewers are welcomed to experience these worlds unfolding as each artist’s typical, existing practice is displayed alongside their artists’ books in the museum.
This unique exhibition also invites viewers into the process of creating artists’ books by showcasing some of the printmaking and hand binding techniques IS Projects provides to its artists through behind the scenes materials like printing plates, early maquettes, original drawings, color swatches, and more! Museum goers are encouraged to create their own artists’ books with a simple book binding activity and a stamping station within the exhibition.
Expanding Printmaking: South Florida
Artist-Run Presses
January 29 - April 10, 2021
The Dorothy F. Schmidt Gallery, Florida Atlantic University, Boca Raton, FL
The Dorothy F. Schmidt Gallery, Florida Atlantic University, Boca Raton, FL
Curated by Carol Prusa and Joseph Velasquez.
This exhibition focuses on expanding our understanding of the vibrant range of art being made in South Florida through artist-run presses and will present a range of prints and artist books being produced from traditional processes to more contemporary strategies.
This exhibition focuses on expanding our understanding of the vibrant range of art being made in South Florida through artist-run presses and will present a range of prints and artist books being produced from traditional processes to more contemporary strategies.
The exhibition was also featured in PureHoney Magazine here.
Tumultuous Absence: VR Exhibition
November 2020
Virtual, Rutgers University, New Brunswick, NJ
Virtual, Rutgers University, New Brunswick, NJ
Tumultuous Absence is a virtual exhibition organized in conjunction with the New Jersey Book Arts Symposium. Due to COVID-19, the symposium took place online via Zoom on November 4 & 5 and 12 & 13, 2020.
"Rutgers New Brunswick Special Collections and University Archives is delighted to announce that this year’s New Jersey Book Arts Symposium and Exhibition will be held in cyberspace on November 5 & 6 and 12 & 13 (Thursdays and Fridays). As in years past, it will feature speakers, panels, exhibits, artists in residence, and a chance to interact with other artists. New this year are opportunities made possible by the virtual format: live streamed and prerecorded presentations, virtual studio tours and demonstrations, an augmented reality exhibition, and hands on do-at-home workshops."
The exhibition includes works by:
Ben Blount, Judith K. Brodsky, Center for Book Arts, Cristina Cerminara, Julie Chen, Ron Erickson, Helen Frederick, Frontline Paper, Asha Ganpat, Vanessa German, Michelle Graznak, Karen Guancione, Starr Hagenbring, Yusuf Hassan, Shellie Jacobson, Lisa Kokin, Kumi Korf, Catherine LeCleire, Aimee Lee, Catarina Leitão, Nathan Lewis, Anita Lovitt, Faride Mereb, Walt Nygard, Nell Painter, Maria Pisano, Melissa Potter, Maddy Rosenberg, Beth Sheehan, Sarah Stengle, Amanda Thackray, Suzie Tuchman, Sonia Yaco, James Yee
"Rutgers New Brunswick Special Collections and University Archives is delighted to announce that this year’s New Jersey Book Arts Symposium and Exhibition will be held in cyberspace on November 5 & 6 and 12 & 13 (Thursdays and Fridays). As in years past, it will feature speakers, panels, exhibits, artists in residence, and a chance to interact with other artists. New this year are opportunities made possible by the virtual format: live streamed and prerecorded presentations, virtual studio tours and demonstrations, an augmented reality exhibition, and hands on do-at-home workshops."
The exhibition includes works by:
Ben Blount, Judith K. Brodsky, Center for Book Arts, Cristina Cerminara, Julie Chen, Ron Erickson, Helen Frederick, Frontline Paper, Asha Ganpat, Vanessa German, Michelle Graznak, Karen Guancione, Starr Hagenbring, Yusuf Hassan, Shellie Jacobson, Lisa Kokin, Kumi Korf, Catherine LeCleire, Aimee Lee, Catarina Leitão, Nathan Lewis, Anita Lovitt, Faride Mereb, Walt Nygard, Nell Painter, Maria Pisano, Melissa Potter, Maddy Rosenberg, Beth Sheehan, Sarah Stengle, Amanda Thackray, Suzie Tuchman, Sonia Yaco, James Yee
Make Ready for the Revolution
October 9 - November 30, 2020
Virtual Exhibition through Zygote Press, Cleveland, OH
Virtual Exhibition through Zygote Press, Cleveland, OH
“You have to act as if it were possible to radically transform the world. And you have to do it all the time.” - Angela Davis
Make Ready for the Revolution, a letterpress exhibition on a virtual display is embedded in a history of resistance that goes back half a century. While 2020 at Kent State on the 50th anniversary of May 4th Shootings would have been a powerful time to have the MAPC conference, the world-changing events of this year are certainly fertile ground for expression and revolution. With that in mind, we would like to gauge interest in hosting a virtual exhibition of letterpress work.
Makeready is the process of readying your press for printing. Letterpress printing instructions caution novice printers to remember the makeready before rushing into a print job. Some printers painstakingly plan every piece. Others consider reading a book or talking with a friend to be the necessary work that comes before pulling a print.
Make Ready for the Revolution asks letterpress artists to ready their presses for revolutions, uprisings, and upheavals big and small—whether that means reaching back into history, engaging with the present, or imagining more just futures.
What does the idea of makeready offer us when we are preparing for change? How can we look at our preparations for transforming the world as collective, long processes undertaken by people across millennia? With the rise of fascism around the world and climate crises devastating communities, we all face an existential threat. Our hearts are broken daily. Artists build and rebuild our infrastructure for ways of seeing, thinking, and being, and this is part of the work of making the path to another world.
Wendy Partridge, Erin Adair, and Bob Kelemen
Exhibition Curators and Letterpress Printers
Make Ready for the Revolution, a letterpress exhibition on a virtual display is embedded in a history of resistance that goes back half a century. While 2020 at Kent State on the 50th anniversary of May 4th Shootings would have been a powerful time to have the MAPC conference, the world-changing events of this year are certainly fertile ground for expression and revolution. With that in mind, we would like to gauge interest in hosting a virtual exhibition of letterpress work.
Makeready is the process of readying your press for printing. Letterpress printing instructions caution novice printers to remember the makeready before rushing into a print job. Some printers painstakingly plan every piece. Others consider reading a book or talking with a friend to be the necessary work that comes before pulling a print.
Make Ready for the Revolution asks letterpress artists to ready their presses for revolutions, uprisings, and upheavals big and small—whether that means reaching back into history, engaging with the present, or imagining more just futures.
What does the idea of makeready offer us when we are preparing for change? How can we look at our preparations for transforming the world as collective, long processes undertaken by people across millennia? With the rise of fascism around the world and climate crises devastating communities, we all face an existential threat. Our hearts are broken daily. Artists build and rebuild our infrastructure for ways of seeing, thinking, and being, and this is part of the work of making the path to another world.
Wendy Partridge, Erin Adair, and Bob Kelemen
Exhibition Curators and Letterpress Printers
About my works in the exhibition:
My pieces may not initially look like they would fit a theme of revolution but my work investigates the importance and the impact of memory—how we remember someone, the words we attach to those memories and the mental monuments we construct for them shape our reality. Misremembering something becomes truth and that can be dangerous.
My pieces may not initially look like they would fit a theme of revolution but my work investigates the importance and the impact of memory—how we remember someone, the words we attach to those memories and the mental monuments we construct for them shape our reality. Misremembering something becomes truth and that can be dangerous.
Psych Land
January 13 - February 14, 2020
The Hall Gallery, Millsaps College, Jackson, MS
The Hall Gallery, Millsaps College, Jackson, MS
“It is in our stories that we locate places most powerfully.” - Kent C. Ryden
Psych Land features the work of Kyle Holland, Ingrid Schindall, and Beth Sheehan, all of whom use printmaking, papermaking, and book arts to explore ideas of place and personal narrative. A space becomes a place when imbued with memory and experience. It is often through place that we interpret ourselves and relate to others. Within the long history of art, physical landscape has frequently been used to express the psychological landscape of an era, culture, or individual—maybe most obviously seen in the example of Van Gogh’s descent into madness. The works in this exhibition start to unpack relationships between a sense of place and identity through the lens of the psyche.
Kyle Holland’s work blends physical landscape and psychological landscape as the ideas of hegemonic masculinity become a threat to self. Holland’s Southern upbringing largely influences his work with imagery pulled from hunting culture and the expectation that perfect masculinity is defined by risk, effortless strength, confidence, and superiority. Holland explores his struggle fitting into this rigid definition of manliness through unsettling, barren landscapes that fail to camouflage a vulnerable deer-like figure.
Ingrid Schindall’s work and practice often call to the oceans of her Florida upbringing. Drawing on her past, the artist’s work offers a look into thought and memory, delivered in a way that is reminiscent of meandering contemplation or the ebb and flow of ocean tides. Particularly within Schindall’s artist books there is a distinctly cerebral experience as text and image flow effortlessly between action and reflection. The scene is set by tactility and earthy visuals, only interrupted by the waves of thought that dissolve the present for a moment. Often within the process of making, Schindall allows headspace and physical space to join further. In one instance, even pulling paper in ocean water so the salt and sand become part of the pages.
Beth Sheehan’s use of place and personal narrative finds a voice in nostalgia. The artist lacks the ability to retain episodic memory and has thus become obsessed with archiving and altering the fragmented versions of her past. Often appropriating strangers’ family photos as well as her own, Sheehan blurs the line between remembrance and resemblance. She refers to this feeling of familiarity for somewhere you’ve never been as “borrowed nostalgia.” By allowing herself and the viewer to question the “truth” of the memories she presents in her work, Sheehan suggests that truth might not be as important as perceived reality.
Psych Land features the work of Kyle Holland, Ingrid Schindall, and Beth Sheehan, all of whom use printmaking, papermaking, and book arts to explore ideas of place and personal narrative. A space becomes a place when imbued with memory and experience. It is often through place that we interpret ourselves and relate to others. Within the long history of art, physical landscape has frequently been used to express the psychological landscape of an era, culture, or individual—maybe most obviously seen in the example of Van Gogh’s descent into madness. The works in this exhibition start to unpack relationships between a sense of place and identity through the lens of the psyche.
Kyle Holland’s work blends physical landscape and psychological landscape as the ideas of hegemonic masculinity become a threat to self. Holland’s Southern upbringing largely influences his work with imagery pulled from hunting culture and the expectation that perfect masculinity is defined by risk, effortless strength, confidence, and superiority. Holland explores his struggle fitting into this rigid definition of manliness through unsettling, barren landscapes that fail to camouflage a vulnerable deer-like figure.
Ingrid Schindall’s work and practice often call to the oceans of her Florida upbringing. Drawing on her past, the artist’s work offers a look into thought and memory, delivered in a way that is reminiscent of meandering contemplation or the ebb and flow of ocean tides. Particularly within Schindall’s artist books there is a distinctly cerebral experience as text and image flow effortlessly between action and reflection. The scene is set by tactility and earthy visuals, only interrupted by the waves of thought that dissolve the present for a moment. Often within the process of making, Schindall allows headspace and physical space to join further. In one instance, even pulling paper in ocean water so the salt and sand become part of the pages.
Beth Sheehan’s use of place and personal narrative finds a voice in nostalgia. The artist lacks the ability to retain episodic memory and has thus become obsessed with archiving and altering the fragmented versions of her past. Often appropriating strangers’ family photos as well as her own, Sheehan blurs the line between remembrance and resemblance. She refers to this feeling of familiarity for somewhere you’ve never been as “borrowed nostalgia.” By allowing herself and the viewer to question the “truth” of the memories she presents in her work, Sheehan suggests that truth might not be as important as perceived reality.