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The Print Club of New York Inc Fall 2020 fairs virtually again soon. President’s Greeting I’d also like to recognize the Club’s most recent and Kimberly Henrikson very first virtual event, our Annual Artist Talk with Victoria Burge, who produced this year’s Presentation Greetings PCNY Members, Print for our members. In addition, we were joined by t is Fall 2020, and our new membership year is under- Luther Davis from Powerhouse Arts, who was the Master way, albeit a bit differently than in past years. This Printer for Victoria’s print. My thanks to Allison Tolman year with the ongoing restrictions for gatherings due for making that happen and for insuring that it went as I smoothly as it did. I was pleased to see that for our first to concerns about COVID-19, as many other organizations have done, we also have made changes to much of our webinar and remote presentation, we had a strong show- outreach and programming to allow for remote participa- ing of attendees. The video has been shared out via email tion, relying more on web-based activities and communi- for those who could not attend or who wish to view it cations. I have been so impressed with the scope of ideas again. We’ll also be posting that to our website for refer- and willingness to try new things while taking on new ence. The prints will be distributed to members in the responsibilities from the board members of this Club. coming weeks, and as Luther pointed out, the inks used Their thoughtfulness and enthusiasm insure that we are produce a raised surface on the prints, giving them a sort doing all we can to provide our members with opportuni- of unique textural element. I will take his advice and (cau- ties to continue expanding our knowledge about and col- tiously and with clean hands) see what that feels like lections of prints. when my print comes. You may want to do the same. One thing we have done is to make more content avail- In the coming months, we expect to continue with the able using web-based resources. I hope you all have been digital digests and develop more programming that can enjoying the new themed email digests of exhibitions and be held remotely. While these efforts are being done in events with supplemental reference links to read more awareness of current health conditions affecting our com- about different techniques and printmaking processes. munities, these new outreach efforts have been so well- And for those of you who use Facebook and Instagram, received, they’ll be rolled into the Club’s programs even the Print Club of New York has a presence on both of after we make our way through the pandemic. They allow them that we have expanded with new content and more greater participation by members who are unable to frequent posts. We invite you to follow us on both. And attend events in-person or who have scheduling conflicts. while we could not attend the IFPDA’s Fine Art Print Fair And our artist talks provide so much valuable informa- and the E/AB Fair at their usual venues in Manhattan this tion about the print and the artist, we should really be year, their online fairs provided a more convenient means capturing that and saving it to supplement our records of of accessing the prints this year and any related programs. the Club. In this way we can find some good to take away I anticipate similar efforts to be made for the spring art from this time, and our efforts will not go to waste in the fairs as well, so we’ll get another chance to peruse the future. I wish you well and good health until we can meet The Print Club of New York, Inc. again the next time. All the best, P.O. Box 4477 Grand Central Station Kimberly Henrikson New York, NY 10163 Kimberly Henrikson, President Gillian Greenhill Hannum, Vice President Natalia Kolodzei, Corresponding Secretary Recent Print Club Events Newton Paul, Recording Secretary Paul Affuso, Treasurer Unveiling of Night Architecture, the Morley Melden, Founding President Julian Hyman, President Emeritus (Deceased) 2020 Commissioned Print Leonard Moss, President Emeritus Mona Rubin, President Emeritus Gillian Greenhill Hannum Board Members: Publications Committee: Kay Deaux Chair: Gillian Hannum he Print Club of New York hosted its first virtual Stephanie Feingold Fran Alexander event on Wednesday evening, October 28, the Mona Rubin Sheila Fane T unveiling of this year’s commissioned print by art- Gabriel Swire Maryanne Garbowsky ist Victoria Burge. The event coincided with the end of the Allison Tolman Natalia Kolodzei IFPDA’s Print Month (see reviews elsewhere in this issue), Bonnie Yousuf Joan Lewis which was rich with virtual studio visits, artist and cura- Deborah Saleeby-Mulligan tor talks and virtual booths. Allison Tolman The Club’s event was introduced by our Technical Host Newsletter Editor: for the evening, Helen Goldenberg, who explained the Gillian Greenhill Hannum format of the Zoom webinar. The event was recorded and P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / www.printclubofnewyork.org FFallall 2020 The Print Club of New York, Inc. Page 2 depth of black, and its relationship to light. Her interest in grids and notation also played a role in the creation of the Club’s image. She has spent time studying classification systems used by astronomers. These are a form of coded notation that offers a variety of modes of interpretation. This led her to become interested in weavers’ diagrams and notations. In 2017, Burge took on an apprenticeship at Philadelphia’s Fabric Workshop. There, she experimented with printing her images on fab- ric. She learned the codes of textile design. In 2019, she was named a Fellow at the Josef and Anni Albers Foundation in Bethany, CT. There, she used found objects like children’s blocks, schoolroom slates, etc. She also explored her interest in grids in a series of drawings. Also in 2019, Burge had an opportunity to work with Dieu Donné Papermill. There, the result was ten pairs of unique works: circles of black or white pulp paper. She then created a unique drawing on the top of each image. Burge began the Club’s print while she was working at Dieu Donné. Night Architecture is a silkscreen print. It is based on a page from the Atlas Eclipticalis, published in 1950. The “map” created a scaffold for her work. She removed color from the page so that she only got the points of light, which emerge from an opaque, black background. The concept was based on a weaver’s warp and weft. Her hand moved the way it would in the process of weaving. Print Shop Director at Powerhouse, Luther Davis, who was “live on Zoom,” then picked up the threads and Victoria Burge, Night Architecture, silkscreen, 2020 explained to the audience exactly how the Club’s print (IMAGE COURTESY OF THE ARTIST) was created. He said he really enjoyed working with Victoria. Her project had lots of challenges for his team. a link to it is being posted on the Print Club’s website. She created a silkscreen with the kind of detail usually Club President Kim Henrikson then welcomed members reserved for etching. They used a special ink cured in a to the release of the Club’s 29th annual print by artist light oven; specifically, they used an ink that is generally Victoria Burge. She thanked Allison Tolman and members used to create Braille. The end result is slightly 3D (Davis of the Print Selection Committee for the excellent job they encourages members to run their fingers lightly over the had done selecting this year’s artist. print). Davis noted the image was built up in layers – first Print Selection Committee Chair, Allison Tolman, then the field of black with a delicate white line pattern on it. introduced this year’s artist and print. She explained that The dots were then added and had to be printed over and in recent months, Burge has moved from Philadelphia to over to build up the relief. He noted there was no room southern New Hampshire. Concerned about internet con- for mistakes in working with Burge’s image. It required a nectivity, Burge opted to pre-record her presentation. great deal of exacting work to keep everything registered. This year’s print, Night Architecture, was printed at Master Printer Dennis Hrehowsik led the team that print- Powerhouse Arts in Brooklyn. The artist thanked the ed the edition. Peter Kruty Editions, also of Brooklyn, also Powerhouse team for all their work printing the 225 had a hand in the production; as letterpress and book prints in the edition. Burge explained that in recent years publishers, they had a piece of equipment utilized in the she has been focusing in particular on two sources of creation of the film. inspiration, mapping light and coded notation. She first Davis explained that silkscreen is a stencil process. An discussed her approach to mapping light. image created on film is exposed on a screen coated with In 2011, she began to record light effects on a photosensitive emulsion. In the case of Night Philadelphia’s Schuylkill River with her camera. This Architecture, the screen used a mesh of 420 threads per inspired a series of work in a variety of media exploring inch. The ink is pushed through the screen with a squee- points of light. She removed color from her photos and gee. It is then dried by UV light.

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