Posts By: Angee

Private Studio: Printshop North

Housed within a 3,000 square foot shared workspace and community printshop, our private studios are ideal for active printmakers, as well as book artists, and artists who work with a variety of 2-D media or small scale 3-D media.

Status:

Available September 1, 2020.

Rent:

$425/month includes 24-hour access to Printshop equipment and general supplies.

Amenities:

8 x 15 feet
8 foot walls, high ceilings
Locking door
Includes A/C, heat, internet, utilities
Hardwood floors

Download our Private Studios PDF for more details.
Email info@spudnikpress.org with questions or to schedule a time to see the studio.

Interested in 24-hour access but don’t need a private studio? Learn about Keyholder Access.

Private Studio: Printshop South

Housed within a 3,000 square foot shared workspace and community printshop, our private studios are ideal for active printmakers, as well as book artists and artists who work with a variety of 2-D media or small scale 3-D media.

Status:

Available September 1, 2020.

Rent:

$375/month includes 24-hour access to Printshop equipment, ongoing membership, and general supplies.

Amenities:

8 x 15 feet
8 foot walls, high ceilings
Locking door
Includes A/C, heat, internet, utilities
Hardwood floors

Download our Private Studios PDF for more details.
Email info@spudnikpress.org with questions or to schedule a time to see the studio.

Interested in 24-hour access but don’t need a private studio? Learn about Keyholder Access.

Application Process

E-mail info@spudnikpress.org to schedule a visit or request an application. There is no application fee. Applications are reviewed in the order they are received. Applications serve the purpose of varifying income and ensuring that there is a good cultural fit between the artist and the greater community. Once an application is accepted, a one-month fully-refundable security deposit secures the studio for the artist.

Interested in 24-hour access but don’t need a private studio? Learn about Keyholder Access.

Facilities & Equipment Community Feedback Committee | Call for Participants

To help guide and support Spudnik Press Cooperative’s “Facilities & Equipment” goal in our 2019-2021 Strategic Plan, staff are seeking community members to share their experiences (good and bad) working within our physical studios and to contribute to a vision of a future Spudnik Press.

Volunteer Members: Participating in this committee will count towards your volunteer commitment!

Ideal Participants:

  • Have first-hand experience using Spudnik Press studios.
  • Are familiarity with one or more of our studio programs.
  • Have experience in a variety of printshop or educational settings.
  • Represent a balance of current or recent members, open studio participants, key holders, teaching artists, fellows, resident artists, and private studio renters.

Key Tasks / Time Commitment:

  • Thursday, July 9, 3-5pm: Participate in 2-hour community listening session (Via Zoom)
  • Mid July: Vote on facilities & equipment priorities (Online survey)
  • Wednesday, August 19, 6:00 p.m.: Attend our Annual Member meeting to share feedback on final facilities & equipment proposal (Via Zoom)

To Participate:

Email info@spudnikpress.org to sign up to participate. Participation is first come, first serve. However, staff will extend personal invitations as needed to ensure everyone who has a stake in our future studios has a voice at the table.

Expanded Open Studio Program to Better Support Artists

Spudnik Press Cooperative is excited to announce a big change to our Open Studio Program. This program, which logs over 800 visits per year from artists and makers at all stages of their artistic journey, has largely remain unchanged since the studio’s inception in 2007.

After 13 years, the program will be dramatically expanded to provide eight Open Studio sessions per week. This will allow guests to reserve back-to-back sessions to accommodate 8-hour studio days. The additional sessions will also increase the capacity of the program while ensuring that guests have adequate work space and plenty of access to shared tools and equipment. With these changes comes a new simplified pricing structure.

This decision was based on community feedback that clarified the need for longer studio sessions and more flexible hours. This change also goes hand-in-hand with our new Studio Access Trainings which provide a more generous “on boarding process” that allows for more support and guidance from our staff.

Overview of Changes

  • Weekly Open Studio sessions increased from 4/week to 8/week
  • Ability to reserve a Single Session (4-hours) or Double Session (8-hours)
  • Simplified pricing: Material fee replaced with a $10 discount for “Dry Activities”
  • Increased member & student benefits: Increased from $7 to $10 discount
  • Will be phasing out hourly rental; Keyholder program remains available for access outside of Open Studio sessions.
  • Reservations are now required.

Updated Open Studio Sessions

Mondays & Thursdays:
2:00 – 6:00 p.m.
6:00 – 10:00 p.m.

Fridays & Saturdays:
10:00 – 2:00 p.m.
2:00 – 6:00 pm

Updated Fees

Single Session (4-hours): $35
Double Session (8-hours): $50

Available Discounts

Current Member or Student: $10 off
Dry Activities Only: $10 off

Discounts may be combined. For example, the cost for a current member who is typesetting or bookbinding will be $15 for a Single Session or $30 for Double Session.

Studio Modifications Amidst COVID-19

Spudnik Press Cooperative is cautiously reopening our studios and have put in place the following rules to ensure we are able to maintain a healthy environment for those in our community who choose to visit our studios.

These policies and procedures will be updated regularly as city and state regulations evolve. In addition to following government directives, staff are committed to providing as many reasonable health and safety precautions as possible to ensure that our community and our staff has access to the resources they need while being able to feel comfortable in our space.

Staff is only working onsite as needed and in staggered shifts. Please be patient with onsite staff.

Capacity & Reservation Limits:

  • To ensure social distancing is feasible, anyone using the studio is required to make reservations in advance.
  • Private studio renters may work within their own studio at their own discretion. However, if studio renters plan to work in shared spaces, they must make reservations.
  • Capacity limits will gradually increase (see table below). 
  • People working collaboratively may share equipment, as long as they adhere to the capacity limits of projects and people in a particular space.

Reservation Details:

  • Be mindful of moving through the studio beyond the area you have reserved. To support social distancing, each area of the studio will be stocked with basic tools. 
  • To reserve access to either guillotine, please reserve “Annex East”. 
  • The shared computer may be used to print films as long as it is not reserved and it is disinfected after use. If you plan to work at the computer for an extended period of time, please reserve it in advance. 

Cleaning & Disinfecting:

  • We are relying on each studio user to clean and prepare the space for the next person. 
  • Everyone using the studio is expected to follow all CDC health and safety guidelines including frequent hand washing and/or the use of hand sanitizer. 
  • At the end of their visit, studio users are required to disinfect all surfaces they come in contact with. An EPA-approved disinfectant will be readily available.
  • Staff will disinfect all hard surfaces twice weekly with an EPA-approved disinfectant.

PPE:

  • Masks are required when entering and exiting our building and while working in shared studios.
  • Due to the difficulty and the risk of using harsh chemicals on our equipment, masks are required when operating presses and shared tools.
  • Masks may temporarily be removed if, and only if, you are working at a stationary space for an extended period of time, others are easily able to stay 6+ feet from you, and you are able to disinfect your entire work space at the end of your session. 
  • Disposable gloves are available for anyone to use throughout their session. 
  • People with conditions that prevent them from safely wearing a face covering are asked to speak with staff before making plans to visit the studio. 

Please Stay Home If:

  • You have a cough, fever, or other possible COVID-19 symptoms.
  • Been in public spaces without wearing a mask or otherwise have not maintained CDC health and safety guidelines.
  • For any reason believe that you have taken on unnecessary risk of spreading COVID-19, and have not been able to test negative for COVID-19.

Please direct all questions related to our Covid-19 related safety precautions, please email info@spudnikpress.org.

Member Interview Series: Sean Mac

Sean Mac is a Chicago-based illustrator, cartoonist, and muralist. He uses comic books and zines as a platform for storytelling and narrative. His work uses loose linework and vibrant colors to tell humorous and intimate stories within each panel. In addition to self-publishing his comics his work includes screenprinting and public art. He graduated with a BFA in Illustration from Columbia College Chicago.

Sean Mac was interviewed by Andrew Mariscal as part of his Spring 2020 Internship at Spudnik Press Cooperative. Andrew is a printmaker and graphic designer pursuing his BA at Dominican University.


Andrew Mariscal (AM):What pushed you to the comic format?

Sean Mac (SM): Video games and geek culture got the ball rolling. Being a kid with a Nintendo 64 growing up, I played a bunch of Super Mario. That and Saturday morning cartoons were huge–you know, “Cartoon Network junkie”.

I would draw all the time. In middle school, I would make fan comics for the cartoon Teen Titans, but never considered it as a career path until I went to Columbia College and met teachers like Ivan Brunetti andChris Eliopoulos. They helped me realize that I could make a career in comics.

Another influence was Chicago cartoonist Jeremy Onsmith . He introduced me to the independent comic artist “Zine World”. I started by helping out at CAKE, an alternative comic festival. The first year I was just setting up tables, but I learned that a lot of the people selling there had a similar story to mine. It was just a community of artists making their own stuff and tabling it. I realized that I could do that too!

Comic covers (Yoga, Thief Brothers of Thif, Lizards Country, Buppy The Alien)

AM: What is your process when making a comic?

SM: My process can be all over the place. My comic Thief Brothers of Thif started off on a whim. I drew one page in my bed, not really planning on a story.  Eventually, I got into the habit of adding a page to it nightly, but that made for a chaotic way of creating a comic.

Others start differently, where I develop a storyline and try to follow it.Still,a lot of my work starts off as a random idea in my head. For example, my character Buppy started off as a pen drawing on a receipt and has since evolved into a series. That happens a lot.I’ll draw a little character or comic page and think, “this might make a cool story”.

Lately, I’ve been trying to start my comics with a clear idea of how they will end. This is especially important when working on large format comics, as finding a conclusion that doesn’t feel tooabrupt is always a challenge for me.

Lizard County (detail)

AM: Is there a particular reaction you want from your work?

SM: There are all sorts of reactions I’m going for. I create comics to work through ideas, make people laugh, smile or just have fun.

AM: Do you ever feel stuck when producing stories?

SM: I try not to believe in writer’s block. Sometimes it’s going to just suck for a bit. There are times where I try to chug through a story to see what happens. Other times I’ll feel like I lose motivation and need a break from drawing or anything artistic. Usually, sitting down and getting started is the hardest part because I may have no idea where the story is going. But after working at it for a few minutes I’ll start to feel like I can manage.

AM: How has risography been implemented into your work?

SM: Getting into risography has changed things for me. In the past, I’ve made comic books using companies like Overnight PrintsandI would get a comic book back that was super glossy or twice the size I originally intended. Through risography,I’m a part of the printing process and have full control over the final product.

Buppy The Cowpoke (detail)

AM: What role has animation played in your comic development?

SM: My animation work has developed through my interest in comics. Like with comics, I started off just having fun and making random gifs, but recently, I’ve been working on a storyboard for a project I want to pitch. This process has changed the way I format comics. I wanted to avoid a position where I would be drawing with no end in sight while facing a deadline. SoI outlined the project and listed important jokes and story points. After I finished, I realized how helpful writing and storyboards can be for developing my approach to animation and comics.

Doodle animation

AM: What do you do in your free time? How does that influence your art?

SM: Well, lately I haven’t had much free time, but my daily life does find its way into my stories.

The Buppy comic that I am currently working on presents him as a business man working in an office. While I don’t have a job that is anything like that, I have been in a more administrative position recently and that experience is reflected in the comic. I have also made many short Instagram comics with jokes based on past life events. Other than that, my free time is spent goofing off with friends and drawing.

AM: Tell me about your mural work.

SM: I did one mural at the Co-Prosperity Sphere, and one at Columbia a while back. But lately, my mural work comes from my position as a teaching artist with the company Green Star Movement. They do mosaic murals all around Chicago. This work has shaped the way I look at more “serious drawing” since a lot of their murals are of important figures of the community or of monuments. Drawing mural designs for the Green Star Movement required a more realistic style. At first, this felt completely outside my wheelhouse since I typically produce more cartoonyimagery, but the experience taught me a lot and was a very helpful exercise.

AM: Favorite artists?

SM: There are so many artists I look at. What I’ve been blown away by lately are Claymation artists on YouTube. For example, Lee Hardcastle does great work that captures a darker theme. I find the visual result of Claymation feels more “real” than a traditional animation. The style takes a lot of effort and the work individuals put into a finalized animation always blows me away.

AM: Due to the stay at home order, I followed up with Sean to see how his work and plans have changed since our first discussion. How has the recent stay at home order affected your work?

SM:  There have been a mix of effects due to the stay at home order. Some great, some bad.

First, the bad; I was planning on getting my master’s degree in the fall at either Savannah College of Art and Design (SCAD) or the University of California, Los Angeles (UCLA). SCAD is planning to have on campus classes, but that can change at any point. UCLA has yet to tell me if I’ve gotten into their art program and contacting someone for a response has been difficult. Overall, the fall semester is filled with uncertainty, which is frustrating to say the least.

Some great news is I’ve had a ton of time to work on my own art. I was able to finish a “Pitch Bible” (format to pitch an animation) that I poured a ton of time into. This project wouldn’t have been possible without all the extra free time. I submitted this Pitch Bible to a cartoon studio and will be having a video conference with them at the end of the month. I’m excited to see how this project will progress!

Yoga Comic (detail)


To keep up with Sean, follow @sugar.bro on Instagram!

Member Interview Series: Willa Goettling

Willa Goettling is an artist originally from Seattle, Washington. Willa moved to Chicago for three years to partake in the Columbia College Book and Paper MFA Program. During this time, Willa interned at Spudnik Press and worked at Spudnik briefly before moving to New York City.

Willa Goettling was interviewed by Ashley Houghton as part of her Spring 2020 Internship at Spudnik Press Cooperative. Ashley is a printmaker pursuing her MFA at the School of the Art Institute of Chicago.

Ashley Hougton (AH): What do you do in New York? 

Willa Goettling (WG): I am currently working at a paper making studio called Dieu Donne. They primarily work with artists in residence–some big names like Ann Hamilton and Richard Tuttle and some more up and coming artists. Dieu Donne was created by Susan Gozin who typically works with established artists without paper making experience to produce an edition. I’m the Education Coordinator for them, so I’m working on building up their programing, creating new classes and syllabi, training teachers, that kind of thing. 

Dieu Donne paper studio 

Dieu Donne paper studio

AH: What made you want to get into education?

WG: There is always room for learning. Teaching yourself new skills, teaching other artists new skills, and helping them expand their practice is something that is really exciting to me. I’m also really interested in accessibility and working in education outside of universities and colleges. Universities and colleges are expensive options for education and limit who feels accepted and welcome in those institutions. Working for a smaller organization, like Spudnik or Dieu Donne, that offer classes to the community on a workshop to workshop basis, is something that is really interesting and exciting to me. 

AH: How does the art scene in New York compare to the art scene in Chicago?

WG: When I was living in Chicago, there were so many small pockets of artists supporting each other and on a smaller scale. The DIY circuit and the smaller gallery circuit is really supportive and accessible for new artists in the city. Your entry into the Chicago arts scene may be quicker and less focused on credentials compared to a city like New York. In Chicago there is more room to operate on your own terms. In New York, there is so much competition. There are so many art institutions and artists that there is more focus on where you went to school, where you trained, and what galleries and museums you have shown at. New York artists are a little more focused on being “professional artists”. 

AH: What was your introduction to art?

WG: Ever since I was a little kid I identified as being a creative person. I don’t know if I would have called myself an artist, but creativity has been wrapped up with my identity for a long time. 

I didn’t study art in undergrad. I studied medical anthropology and global health. The reason is that, besides it being an interesting area of study, it was hard for me to justify going to school for art as a first generation college student coming from a working class family. I felt like art was something that I could always do on my own time, continue developing myself, and build a community around outside of school. I don’t know if I have any regrets towards that, but I definitely second guess it every once and awhile. The more I’m in the art world the more it feels like having both, an undergraduate and masters degree in the arts, means more opportunities are open to you. 

AH: What inspires your current art practice?

WG: I went to the book and paper MFA program at Columbia College because I have always been interested in communicating narrative through art. If I’m not reading or writing, putting a series of ideas into a book, or self publishing, I like to use printmaking to make multiples and have multiple pieces of art all be in communication with each other. I’m interested in art as a form of storytelling and a form of spreading information.

Recently I’ve been interested in looking at my own relationship to my body and the cultural, economic, and societal impacts that the body absorbs–especially the feminine body. Being someone who came from a working class background and has a bunch of laborers and craftspeople in my family, capitalism has definitely affected the way that we move throughout the world. We have developed a sense of self within a world that does not value labor or the people who have jobs that are heavy in manual labor.

Surface Tension Artist Book

Surface Tension Artist Book (Cover)

Surface Tension Artist Book (Detail)

Surface Tension Artist Book (Detail)

AH: Can you tell me more about capitalism and its impact on the body? 

WG: Capitalism is tied to systematic oppression of who has access to money, health, power and jobs and who doesn’t. Capitalism affects bodies very differently depending on race, class, sexuality, and ability. For me, I have a pretty disconnected relationship to my body because it’s so wrapped up in our access to health care and health care being a money making industry. As US citizens do not have equal access to health care, there is a huge disparity in who has time to address physical or mental health issues. The “American Dream” of being able to work your way up to another bracket feels like the carrot that is always being dangled in front of you. Depending on which economic class you are born into, the “American Dream” is extremely hard to actually achieve. Further, if you do make it out of your class bracket it’s at the expense of your body and your health. 

AH: In your bio you mention that you are “motivated by a desire to feel more connected to and in control of your body”. Are you motivated to explore that connection as a concept or does your art making process make you feel more connected to your body? 

WG: I think it’s a combination. When I was in grad school it was more theoretical and I explored the person-body relationship as a concept rather than actually developing a closer relationship to my body. Because grad school is so time consuming, I pushed off my relationship to my body in a lot of ways and denied my body just because there was so much else required of me. However, making art and using that time to reflect on the disconnect has become really valuable to me. 

Connective Tissue Artist Book 

Connective Tissue Artist Book

AH: What are you working on currently? 

WG: Currently I’m working on a project centered around handmade paper. This medium feels very holistic to me. I can grow and process my own fibers for paper making, and there is a huge variety with what I can do with those fibers after I turn it into pulp: I can work sculpturally, I can make two dimensional pieces, I can paint with the pulp, I can embed things into it, and so on. The project I’m currently working on is still in the idea phase. I want to work with my dad who is a stonemason and take some of his work clothes and turn them into pulp for papermaking. Then, I want to create casts of the stones he works with on a regular basis in the paper made from his clothes. The casts can pick up a lot of details. A lot of my process also has to do with focusing on the process itself and whatever is the end-all-be-all, or the product of the process, feels a little secondary to me. 

Surface Tension Installation

Surface Tension Installation

Sometimes the product is more directed if there is text that I want to put into a book. I have an idea of how I want that text to be laid out and what the book would look like. With something that is more of an installation or a group of objects, the process is a really big part of figuring out what the end product will look like. I like the idea of having some sort of document of my dad’s labor and turning that labor into something beautiful. 

AH: How has your work shifted since graduating from graduate school?

WG: Having just graduated from a graduate program and coming back to myself and my art practice outside of school, there are subtle shifts happening in my work. I’m trying to figure out what space my work makes the most sense in; if gallery spaces are best, or if I would rather stick to independent publishing and continue working in education at non-profits. Sometimes it’s harder to justify making work out of school, but I definitely believe in continuing to make art just as a way of better understanding the world. I think that is reason enough.

AH: Can you tell me about your experience as an intern at Spudnik? 

WG: I basically had no screen printing experience when I was at Spudnik but I did have some relief printmaking and etching experience. I got to work with Angee Lennard and Nicolette Ross to edition some artists’ prints. The most complicated and exciting of those projects was by Edie Fake. It was an 8 layer screen print and half of those layers were rainbow rolls, in which multiple colors are blended in one layer. As an introduction to screen printing I arguably started with the most complicated technique. I learned A LOT while I was there and I really loved Spudnik as a model. Being in New York I’ve realized there are no studios that offer open studio hours to the public for as cheap as Spudnik does and I think in that way Spudnik is extremely accessible. 

The Processing Department, Edie Fake (Published by Spudnik Press)

The Processing Department, Edie Fake (Published by Spudnik Press)

AH: When you’re not doing art what do you like to do for fun? 

WG: If I’m not making visual art or writing, I play music very casually. I play drums. I’m not playing in a band right now but that’s something that I like to do with friends. It keeps me socially accountable and it’s also just nice to get together with people and work on creative problem solving with others. I also like to read and have been watching a lot of Schitt’s Creek lately. 

AH: Willa’s artist book, Notes From My Body, is part of the Joan Flasch Artist Books Collection at the School of The Art Institute of Chicago, which is available for viewing by appointment.

2020 Studio Fellowship Program Expands to Support 6 Emerging Artists

Spudnik Press Cooperative is proud to introduce our next Studio Fellowship cohort, a group of six committed and talented emerging artists. Through the course of their fellowship, they will receive professional, artistic, and technical support that specifically addresses the needs of printmakers.

Established in 2013, this program to date has supported 49 artists with unfettered studio access to support the creation of a new body of print-based artwork, as well as a variety of other resources and opportunities. Through working in our shared studio and monitoring weekly Open Studio sessions, fellows engage with our community of printmakers and benefit from ongoing support and feedback from staff and peers.

With this cohort, we are increasing the number of artists this program serves. For the first time, we are bringing on six fellows instead of four. We feel that this is a small but essential way we can support our community. Now more than ever, artists need a reliable and communal space for artistic production.

At this time, we cannot physically invite these artists to our studios. While the many benefits of their fellowship are currently on hold, we remain honored to introduce these artists and look forward to scheduling their fellowship as soon as it is safe to do so.

Additionally, we would like to thank our outgoing studio fellows, Marc Benja, Efrat Hakimi, and Teresita Carson Valdéz for their inspirational art practices and their dedication to our Open Studio program. Once are studios are able to re-open, we look forward to the period of overlap between these two cohorts and nine artists.

Congratulations to our 2020 Studio Fellows:

Kelsey Gibson
Samantha Hensley
Dan Landgren
Griffin Miller
Osée Obaonrin
Robert Stokowy


Kelsey Gibson

Having been born and raised in St Augustine, the nation’s oldest city, there is no question as to why I’ve always found myself attracted to the antiquated and obsolete. I find myself significantly more intrigued by the past than with the future, and this notion is something that I explore with my art— not only through imagery but also by choosing manual printing as a means of production. I strive to educate and to preserve public history by studying and depicting the architecture, furnishings, and textile patterns of the past, however, I am particularly fascinated by the whimsical area in which the past and present visibly overlap.


Samantha Hensley

Sam Hensley is an printmaker, storyteller and sculptor from Kentucky. She mends together little storybooks for tales of endearing yet unsettling creatures of varying sentience. Nursing the emotion between disgust and affection for things that cannot be understood, she reflects her own experiences with mental illness, gender identity, and just feeling misshapen in your habitat. The telling of these stories is further aided by animatronic puppets that she constructs as vessels for her tragically friendly beings. She recently received her BFA from the university of Kentucky.


Dan Landgren

Dan Landgren is a motion and graphic designer based in Chicago.

“I graduated from DePaul University with a BFA in Graphic Design and a minor in Animation. As a multi-disciplinary designer, artist, and printmaker I have experience in 2D/3D animation, UX/UI design, videography + photography, bookmaking, screen printing, and risography. The driving force behind my work is experimentation and learning.”


Griffin Miller

Griffin Miller makes work under the online persona plant_boi.

“My work is primarily a formal experiment in shape, architecture and interaction of objects.  Through this lens I have developed an interest in certain objects as visual means of communication; specifically: vessels, entryways, circles and their disruptions, repeating patterns and faces.  I find these designs, successful and unsuccessful, to serve as a basis for my own logical and functional limitations when drawing.”


Osée Obaonrin

Osee Obaonrin is a writer and fiber artist originally from the Republic of Benin, who grew up in the Maryland/DC area and currently resides in Chicago, IL. Obaonrin focuses primarily on documentation. Documenting self. The feelings of grief and acts of mourning as a means of reflection and also as a means of actually performing the processes of grief and mourning. She attempts to reconcile with the losses that have opened her to grief, the pain that has come along with it and perhaps find hope as a means of resistance.


Robert Stokowy

Robert Stokowy is an artist and composer from Cologne, Germany. His work consists of experimental compositions, text-based interventions, performances and installations. More conceptual works utilize artistic practices such as photography, writing, printmaking and drawing. All projects are framed and connected by an overarching artistic research process, focussing on inner structural characteristics of found or created sonic environments. Using a radically reductive and interdisciplinary approach, Robert’s work investigate modes and possibilities of sonic accessibility. In short art is used as an interdisciplinary tool to understand one’s environment and the human condition.

Image: Clockwise from top left: Details of artwork by Kelsey GibsonSamantha HensleyDan LandgrenGriffin MillerOsée ObaonrinRobert Stokowy

Public Safety First: Spudnik pausing all public programming to reduce the spread of COVID-19

To all in our community,

The health, wellbeing, and safety of our community and the broader communities in which we live are our highest priorities. With public safety in mind, we are taking proactive steps to reduce the spread of COVID-19 by pausing all public programming effective immediately.

Our decision is in accordance with global health authorities to keep our staff and community safe from what experts, including the World Health Organization, are calling a “global pandemic.”

We are taking the following steps to minimize all non-essential gatherings as well as the use of mass transit to and from our studio: 

  • Open Studios are cancelled until further notice
  • Group Classes are postponed until further notice
  • The following events are postponed at this time:
    • March 18: Volunteer Session
    • March 24: Queer Materialism dialogue
    • March 25: Study Session
  • All other events in April and beyond may be cancelled or postponed based on developing recommendations of healthcare experts such as the CDC
  • If you are enrolled in a one-on-one private lesson or the March 15th Portfolio Review, you will receive additional correspondence regarding your registration. In the case that both parties are comfortable meeting one-on-one, the studio will be accessible.

How to Use The Studio:

  • At this point in time, keyholders without symptoms are welcome to continue using the studio
  • At this point in time, staff will try to accommodate other reasonable requests to gain studio access, always prioritizing the health and wellbeing of our entire community.

For those who do plan to use or visit our studio:

  • As of today we have cleaned and disinfected surfaces and equipment to the best that we are able.
  • Hand sanitizer is available for people to use in the studio. If you do choose to use the studio, we ask that you wash your hands on entering and exiting the space, and use the hand sanitizer provided. 
  • Unless you have keyholder access, please call ahead of your visit to ensure the studio is staffed.

We understand that this message will not answer all of the questions that our community may have about these decisions, and that we will need to follow up soon with students in greater detail regarding rescheduling and/or refunding program fees. 

These are unprecedented circumstances; staff is committed to staying up to date with all developments, and doing all we can to keep our community informed of our plans. 

Sincerely,

Spudnik Press Cooperative Staff & Board of Directors

 

Update Regarding COVID-19

We want to share a brief update on the status of Spudnik Press Cooperative programming and events in light of the COVID-19 outbreak in Illinois. With the wellbeing of our staff and program attendees in mind, Spudnik Press Cooperative staff are actively discussing the next steps in case of a larger outbreak in the Chicago area.

We are monitoring and basing our decisions on their recommendations of the following resources. We encourage our community stay informed as well:

For now, all our classes and events will continue as planned, and we will send updates via email to our community if any plans change. We understand that our members, students, and guests have their own protocols and concerns regarding safety, and ask that if you do plan to cancel attendance, please do so as soon as possible.

We further ask you not to visit our studio if you are feeling ill, and have symptoms such as a fever, fatigue, or consistent cough. We also ask all visitors to rigorously wash their hands upon joining us for an event and taking other precautions such as coughing into one’s elbow and refraining from physical contact with fellow attendees.Lastly, we ask our community to practice kindness during this time, as these events are no excuse for xenophobia.

Thank you for your continued support of Spudnik Press Cooperative.

New Studio Authorization Process

On April 1, 2020, a new authorization process will be rolled out for artists who are new to our studio and already have satisfactory knowledge of their craft.

Anyone who would like to become authorized to print at Spudnik Press or use our studio will need to complete a Studio Access Training led by staff. These sessions ensure that all makers are proficient and confident using the equipment in our studios and following our specific procedures and guidelines.

These sessions are not lessons: they are for makers who already are comfortable printing or working independently.

Why the change?

  1. It’s hard to start working at a new studio! Our newest printers deserve more support and guidance from our staff.
  2. Over 1,200 people a year make art here! This new authorization process will help us keep our studio clean and cohesive.
  3. Spudnik Press is a shared space! Sharing space and resources requires mutual investment from everyone involved. Studio training sessions are a way for staff to really engage with the print community and vice versa. We hope the time spent working side by side in the studio will lead to everyone feeling more comfortable in our studios and invested in making our space the best it can be for everyone.

What you can expect:

  • Small group setting
  • 90-minute to 3-hour session
  • Overview of the ways artists can print independently at Spudnik Press
  • Details regarding rules, regulations, and best practices specific to Spudnik Press
  • A focus on personal safety, care and maintenance of tools and supplies
  • A combination of discussions, demos, and hands-on projects
  • Opportunity to ask technical questions and brush up on techniques
  • Complimentary Open Studio coupon valued at up to $25

To help ensure that our studio is accessible to all, in addition to private trainings, we welcome additional requests for reasonable accommodations to support those with various learning styles, physical abilities, and financial limitations. 

Studio Access Training Details

Study Session: The Visuals (Websites & Art Documentation)

This event has been postponed for COVID-19 closures. We look forward to announcing a new date in the future.

Wednesday, March 25, 2020
5:30 – 8:30 p.m.
@ Spudnik Press Cooperative 

$5 for Spudnik Press Members
Register Online

Are you pulling together a proposal for an arts grant, MFA program, or residency? Does your online presence need an overhaul? Up against a deadline and want a “Buddy System” to help structure your time, or get a second pair of eyes on your materials?

Come join other members for a super productive session dedicated to the visual aspects of proposals, applications, and websites!

Spudnik Press staff will start the evening by presenting some useful information like best practices for art documentation, website platform and template options, and the selecting and sequencing of images for applications.

Breaking off into smaller work groups, everyone will be able to get focused feedback and support from staff and peers where they need it most, be it their website, their social media presence, digital file editing, file management, etc.

The Study Session will also offer an overview of photography tools free for members to use at Spudnik, including our artwork documentation stand, a light kit, and a digital SLR camera.

Building off the brilliance of the Buddy System to stay on task and enjoy the process, our Study Sessions encourage camaraderie and skill sharing among our talented group of member artists.

Registration Details:

Advanced registration is very much appreciated to allow staff to best plan for the event.  If you are not a member and wish to participate in this member opportunity, please join or renew your membership.