Posts By: Angee

Spudnik Press Welcomes Resident Artist Andrea Carlson

Carlson has been working in the studio to create a series of screenprints during her residency at Spudnik.  The content of Carlson’s work intimately relates to her Indigenous identity. to her Indigenous identity. “I’m an Ojibwe person, and have long worked in Indigenous language revitalization efforts. Although I use language and titles in my work, I’ve never shared my ancestral language in my work before….There is also a secret joy when Native people see our languages represented widely.”

Andrea Carlson (b. 1979) is a visual artist currently living in Chicago, Illinois. Through painting and drawing, Carlson cites entangled cultural narratives and institutional authority relating to objects based on the merit of possession and display. Current research activities include Indigenous Futurism and assimilation metaphors in film. Her work has been acquired by institutions such as the British Museum, the Minneapolis Institute of Art, and the National Gallery of Canada. Carlson was a 2008 McKnight Fellow and a 2017 Joan Mitchell Foundation Painters and Sculptors grant recipient. Carlson is represented by the Bockley Gallery in Minneapolis, Minnesota.

Learn about all of our upcoming 2019/2020 Resident Artists

Learn about the Spudnik Press Cooperative Residency Program

Spudnik Press Announces 2019/2020 Resident Artists

Spudnik Press is thrilled to announce our Resident Artists for Summer 2019 through Spring 2020.  These Resident Artists will bring new resources, perspectives, and professional connections to the various audiences that Spudnik Press serves, including first-time printmaking students, emerging artists, professional artists, art collectors and supporters. The Residency Program provides mid-career to established artists one to six weeks of full studio access and the support necessary for the production of new print-based artwork. The Residency Program supports a range of local, regional, and national artists with each residency adapting to the interests and needs of the individual artist.

Resident Artists 2019/2020:

Andrea Carlson, May/June 2019

Andrea Carlson (b. 1979) is a visual artist currently living in Chicago, Illinois. Through painting and drawing, Carlson cites entangled cultural narratives and institutional authority relating to objects based on the merit of possession and display. Current research activities include Indigenous Futurism and assimilation metaphors in film. Her work has been acquired by institutions such as the British Museum, the Minneapolis Institute of Art, and the National Gallery of Canada. Carlson was a 2008 McKnight Fellow and a 2017 Joan Mitchell Foundation Painters and Sculptors grant recipient. For further inquiry, please contact the Bockley Gallery in Minneapolis, Minnesota.

Joao Oliveira in partnership with Comfort Station, August 2019

João Oliveira is a visual artist based in Brazil who works with techniques such as engraving and drawing, its intersections and unfoldings into other processes. Selected exhibitions include “Esquizópolis”, MAM, Salvador-BA, “Prêmio Gravura EVA Parque Lage + MUL.TI.PLO Espaço Arte”, EVA Parque Lage, Rio de Janeiro – RJ, two editions of “Salão de Abril”, Fortaleza – CE, and five editions of “Salão de Artes Visuais da Bahia”, where he was granted awards and honorable mentions. Other accomplishments include residencies at Museo Universitario Del Chopo, México, and Scuola Internazionale di Grafica, Italia.

Celeste De Luna, November, 2019

Celeste De Luna is a self-taught printmaker whose work includes large-scale woodcuts and fabric installation. Her political subject matter is social commentary with a feminine sensibility. In addition to her studio practice of creating large-scale relief prints, quilts, and installation, De Luna works in collaboration with community in Brownsville, Texas as a cofounder of the socially engaged arts collaborative Las Imaginistas.  Las Imaginistas are recipients of a 2017 Artplace America Creative Placemaking grant and 2018 A Blade of Grass Fellows.  Currently, De Luna is managing her print shop, Metzli Press, creating curriculum for a community printmaking collaborative, Taller de Permiso, (Permission Workshop,)  and a lecturer at the University of Texas Rio Grande Valley  and lives with her family in Harlingen, Texas.

Benjamin Merritt, February 2020

Benjamin Merrit’s research intersects with the discussion of chronic illness.  According to Merrit, chronic illness is continually based around cure and cause, often times with a language that puts the patient at fault (stigma around weight, smoking, alcohol consumption) in situations where those are proven to not be causes for the illness.  Recently, the ways language is used in clinical settings and text have become more important in his work.  Merritt aims to bring attention to the complex relationship between the body and language in medical discourse, and to encourage the viewer to consider compassionate and affective methods of discussing illness.

Andrew Bearnot, March 2020

Andrew Bearnot (MFA, University of Chicago) is a self described “materialist”: he thinks with and through the substance of things. Informed by a background in material science (ScB, Brown University) and glass (BFA, Rhode Island School of Design), Bearnot explores moments of transcendence in the everyday. He was awarded fellowships from Fulbright and the American-Scandinavian Foundation for research on glass-making traditions in Sweden and Denmark and has been an artist-in-residence at the Hyde Park Arts Center (Chicago, IL), Museum of Arts and Design (New York, NY), Marble House Project (Dorset, VT), and Creative Glass Center of America (Millville, NJ).

Learn more about the Spudnik Press Artist Residency

Call for Artwork: Spudnik Press Cooperative Annual Benefit | The Price is Nice

COME ON DOWN!… Submit your work for our annual benefit The Price is Nice

The Annual Benefit is our largest fundraiser of the year, and last year raised over $30,000 to be invested in our studio and programs. Each year, the event’s art auction draws upwards of 150 collectors, curators and arts professionals to support Spudnik, bid on art, and discover emerging artists. Past benefit attendees include curators from the MCA, DePaul Art Museum, AIC, Hyde Park Art Center, as well as dozens of gallerists and private collectors.

Building on the success of last year, the auction will once again feature a juried selection of artwork by our members. Esteemed writer, curator and Editor-in-Chief of THE SEEN, Stephanie Cristello, will curate this year’s member section. Each member featured in the auction will have their work framed and receive complimentary admission to the benefit.

This is an exciting and wonderful opportunity for our members to have their work reviewed by an established writer and curator and reach new audiences, as well as a way to support your studio. 100% of the sales from the Benefit Auction will support Spudnik Press Cooperative.

About the Juror:

Stephanie Cristello is a curator, writer, and contemporary art critic living in Chicago, IL. She is the Editor-in-Chief of THE SEEN, Chicago’s International Journal of Contemporary & Modern Art, currently serves as the Artistic Director of EXPO CHICAGO, and Director / Curator at Chicago Manual of Style.

Submission Guidelines:

  • Member Artists may submit up to 3 pieces.  Please submit this form with entries.
  • Deadline for art work drop off:  Monday, July 22, 2019.
  • Artists will be notified regarding selection results by August 2, 2019.

Details:

  • This call is open to all Spudnik Press members.
  • There is no entry fee to submit work.
  • Participants may submit up to 3 artworks.  One piece may be selected to be included in the auction.

Requirements:

  • Participating artists must be current Spudnik Press members.
  • All artwork must have been partially or fully produced at Spudnik Press.
  • All artwork must include at least one print process.
  • Three-dimensional or fiber-based print works are welcome and must be ready to hang with instructions for installation.
  • Artwork made within the last 2 years is preferred.

Questions?  Email susannah@spudnikpress.org.

Call for Artists: Prints United! | 2019 Annual Member Exhibition

August 30 – November 2, 2019
Opening Reception: Friday, September 13, 6:00 – 9:00 p.m.

Deadline for online submissions: Monday, July 22, 2019

Calling all print geeks, all relief devotees, all intaglio fans, all serial serigraphers, all letterpress lovers: this fall, our Spudnik Press Annual Member Exhibition will highlight the thing that brings us all together, print!  As members of this print community, we want to bring together the amazing work being made day in and day out. At Spudnik Press, we feel welcome, whether we wipe plates, roll ink, or squeegee shapes. We all have in common a deep curiosity about print and an appreciation for the way ink transforms our ideas into reality.       

This exhibition celebrates the cacophony of visual statements made each day at Spudnik Press.  Members are invited to submit recent works, from fine art prints to gig posters, from zines and books to fiber/mixed media pieces.

To Participate:

  1. Complete the Online Submission Form by Monday, July 22, 2019.
  2. Email susannah@spudnikpress.org with 1-3 hi-res images of your work by Monday, July 22, 2019. Please include artist name and year of completion in file name. Images should not exceed 1 MB each, example:  Last Name_First Name_2019
  3. Drop off artwork by Friday, August 23, 2019.
  4. Pick up artwork by Saturday, November 9, 2019 at 4:00 p.m.

Details:

  • The exhibition is open to all Spudnik Press members.
  • There is no entry fee to participate.
  • Participants may exhibit up to 3 artworks.  Some or all works may be selected to be exhibited.
  • If work is available for sale, Spudnik Press retains 50% of income from the sale of artwork during the exhibition.

Requirements:

  • Participating artists must be current Spudnik Press members.
  • All artwork must have been partially or fully produced at Spudnik Press.
  • All artwork must include at least one print process.
  • Works on paper may be framed. If not framed, work will be installed using magnets.
  • Three-dimensional or fiber-based works are welcome and must be ready to hang with instructions for installation.
  • Artwork dimensions must not exceed 22 x 30 in. (unframed).  Textile or fiber work dimensions are variable, please contact Susannah with questions.
  • Artwork made within the last 2 years is preferred.

Questions?  Email susannah@spudnikpress.org

Many thanks to our Exhibitions Committee (Summer Kee, Yasi Moussavi, and Catherine Norcott) for their contributions and support.

Portfolio Review Day with Paul Hopkin

Saturday, June 15, 2019
9:30am – 1:00pm
Spudnik Press, 1821 W Hubbard, Suite 302

$20 for Spudnik Press Members
Register Online

Guest Reviewer: Paul Hopkin

As part of our mission to unite our community of artists with art professionals throughout Chicago, we offer portfolio reviews throughout the year. Each artist that signs up for a portfolio review will receive a 30-minute, private review with a curator, educator, gallery director, or arts administrator.

This is a unique opportunity for artists to receive feedback on a current body of work or upcoming project, as well as suggestions on how to prepare for other professional opportunities. Participating artists should bring a portfolio of current work to share with the guest reviewer.

Paul Hopkin Bio:

Paul Hopkin was raised by devout Mormons in the Nevada desert. He was expected to become a scientist. He earned a BFA in ceramics from BYU and an MFA from SAIC. He has a quiet but active studio practice that focuses on material connections to narrative structures. He has a tendency to include food and alcoholic beverages as both subject matter and production material. Paul established slow in 2009, a storefront gallery that has established itself in Chicago’s vibrant scene of artist run spaces. He has curated over 50 shows and worked with couple hundred artists. He has curated shows in other venues as well including the largest ever group show in Clutch, a 5” white cube inside Meg Duguid’s purse, Heaven Gallery, Dock 6, and Columbia College’s A &D Gallery.

Registration Details
Space is limited to six artists. Advanced registration is required. The non-refundable registration fee can be paid online. The registration deadline is Monday, June 10, 2019 . Registrants are encouraged to arrive 10-15 minutes early to their scheduled appointment.

Member Interview Series: Atlan Arceo-Witzl

Atlan Arceo-Witzl is a Mexican-American visual artist and creator whose work is concerned with everyday rituals, icons, symbols, objects, and language. He is a recent graduate of Skidmore College with a BS in Studio Art, concentrating in relief printmaking, sculpture and drawing. He lives outside of Chicago in Oak Park, IL pursuing a career in the arts and enjoying the fascinating human game of communication. He is currently a Studio Fellow at Spudnik Press.

Cat Chen: How did you get into printmaking?

AAW: So my dad went to The School of the Art Institute in the 80’s, and he studied printmaking there. I grew up with printmaking in the house. Our basement had printing press and all the ink, so I was kind of raised with it. In middle school I was exposed to things like linoleum, and then from there I knew I wanted to pursue art in higher education. I started with an intro class, and really kind of dove into it. I got to experiment with lithography, relief, woodcut, and intaglio, just like a good mix of different processes. After a while of trying a bunch of different mediums I think woodcut was the one that stuck the most.

CC: What is it about woodcut that interests you?

AAW: That’s a good question. What I’ve been exploring for the past year and some change has been the quality of the wood block as a storied object. I enjoy how tactile the surface of the woodblock is because things like intaglio are pretty subtle. Screenprint too is something that you can see what’s happening but you can’t touch it and say, “Oh I see this is where something’s going to pick up and print and this is where we’re not touching paper and so nothing’s gonna happen.” There’s a lot of character you can put into a woodblock. Also nothing looks like a woodblock cut! You work with the natural qualities of the material and turn them into whatever you want to get out of it.

CC: I read in your artist statement that your work has to do with “everyday rituals.” Can you talk about what that means?

AAW: When I was working on thesis, I discovered that I enjoy things that are mundane and part of everyday life. There’s a piece I did in my lithography class that was a mug that was kind of being morphed upside down into a reflection of itself.

Jarra Bolteado, aluminium plate lithograph, 2016

And it elicited the most response of any piece I had done in that class and I was like, “What about it is doing that?” When I started to talk to people about it I found that the piece is grounded in the everyday, but elevating it to a level that you can appreciate. It’s also a little bit comical! 

This print is about readymade monuments for things that you use everyday.

Ready Made Monuments, reductive woodcut, 2019

It depicts a clothes pin, a mug, a comb, and a telephone—but not like an iPhone—like an old house phone kind of deal-io. The tactile nature of doing everyday tasks and having a structure to your day often revolves around objects that you use. I carry a comb with me everyday. I think it kind of grounds me. I’m prone to mechanical distraction so having something to do with my hands is very much a thing that I enjoy. That ties back into this idea I really enjoy that’s, “You’re ancient now, the things you do are ancient now.” When you go back to the records of what people did everyday—they used this kettle to cook their meals and they did it in this pot, or they went up these stairs and put that incense there on this altar—in a way that was very normal. 

CC: I know a lot of your work comes from the visual language of Mesoamerican and Indigenous cultures. You also mentioned the United States Post Office as one of the traditions you draw from. What are your personal connections to these traditions?

AAW: The Mesoamerican part of it comes from the house that I grew up living in. My dad is from Mexico, and he and my mom did a lot of traveling around Mexico. My dad worked for what’s now called the National Museum of Mexican Art in Pilsen. So I know my background is half-Mexican and half German-English on my mom’s side. Besides that, I think the visual language of Indigenous peoples is very evocative and is also reflecting things that are happening in the everyday. Using the Postal Service became a funny thing about analog communication in our information era. I think the postal iconography too was something that really struck me. 

CC: What do you mean by that?

AAW: The postal service is a keystone for communication, but is also an organization. I think organizing is a thing that we like to do as humans. “We have this mission and we’re trying to do this,” and then making an image or approach that matches the mission of that group. It’s a really…diverse but quirky practice in a way that sometimes works and sometimes doesn’t. I think accessibility is an interesting thing for the postal service too, because it allows anyone to send a message to wherever. Nowadays you can do that on your phone, but it’s a relaxing practice to take stock of what you’re trying to say to someone in a tactile form and it shows that you care a little bit more. 

CC: Do you mail things still?

AAW: Yeah, so I started this project a little bit before Spudnik. I heard this phrase at the print studio one day, “What About Yesterday’s Lunch?” I have these moments sometimes where I hear a phrase and I liked the way they sound so I wanna record them. The project became a kind of funny thing but also meant to be a check-in question with friends after school. I did a little booklet to start off with, and I did a little prompt for people to make their own post cards that will be compiled into a booklet. I’m still waiting to see if I get any more responses.

CC: You talked a bit about the text you got from just overhearing things…is that usually how you get an idea for what to put in a work?

AAW: [The artist] Lesley Dill came to visit at Skidmore, and she was talking about how much she records passing ideas. If it’s something you think will be valuable later, you have to write it down in the moment. Because if it’s not important we’re not gonna remember it, and it’s hard to tell what’s important without giving it a chance. I think the way that I process information sometimes comes in these little instances or little phrases of words that get grouped together somewhere. The first print that I did at Spudnik included the phrase, “Out of the blue, on the wings of small events.” I love the idea, because that’s how we live our everyday lives. Things aren’t just magically happening. The phrase itself comes from a Union Pacific Railroads safety video that was meant to prevent injury for railroad workers. It just popped up in the middle of a video I was watching. That’s another silly thing I like to do: just browse through the internet for instructional videos and what used to be considered documentaries.

Out of the Blue, On the Wings of Small Events, letterpress printed woodcut, 2019

CC: Is your process usually hearing the words first and then the image comes after?

AAW: Sometimes they’re kind of co-evolving, and sometimes an image gets punched in my brain. I have a lot of those shower moments where I’m shampooing my hair and I close my eyes for a split second and my brain’s like, “Hey! Look at this picture that I just made up!” and they’re often very vague shapes, geometries, sometimes they’re more explicit. It’s just like a constant filter of going in one ear and bouncing around like a pinball machine in my head and then it comes out the other side. 

CC: I see that you use a lot of disposable, cheap, and easily available materials. Is that a practical thing or is it more of a conceptual choice that ties into your practice or both?

AAW: I think a lot of the times it’s a matter of what’s around because it makes it easier. Once you start stewing in an idea for long enough then you just melt into the possibilities of what could happen. I think it became a way to streamline and also utilize the things that are a part of my everyday or things that I collected because they resonated with me. Lately I like using China markers, but then you have to peel them. Those have started finding their way into being collaged on paper. I started thinking about using refuse but the refuse is also something that you made. Here at Spudnik I printed “Out of the blue, on the wings of small events,” and I made a bunch of them so that I could use them as a collaging material.

A collection of Atlan’s prints, drawings, paintings, and sculptures

CC: I’m curious about your experience as a Spudnik fellow? How long have you been at Spudnik?

AAW: We’re five months in. I think as a printmaker it’s been a fun thing because leaving school I was really looking for a community in the arts. After four years you leave that place and it’s so important to have other creative individuals in proximity to you to bounce ideas off of or to collaborate with. I think being a part of the fellowship here at Spudnik satisfied all those hankerings. Also the professional development that we do has been helpful, as a young artist not necessarily knowing what I should be doing with the thing I love to do everyday. 

CC: Do you have an idea of which direction you want to go?

AAW: I haven’t made any real decisions about what kind of avenue I want to go down. I’m leaning towards proposing shows and working on bodies of work that could potentially be in some kind of space but I’m also interested in collaboration. Tabling at events has been appealing. I’ve been doing an album cover here and there, or event posters. I’ve started volunteering graphic design with Compound Yellow, which is a space in Oak Park that’s artist-run and does cool programming. Art education is something I’m starting to get more into. Here at Spudnik I’ve been helping with the letterpress class on Saturdays and that’s been a really rewarding experience. I’m working with YOUMedia, which is a program through the Chicago Public Library Foundation that’s after-school for tweens and teens. The promise of doing arts education is something that has been looming over my shoulder for a long time because my family is made of educators. 

CC: We’ve been talking a lot about art. What do you do when you’re not making art?

AAW: I like to listen to music. I like to make music. I play the drums. I used to play the euphonium, which is a miniature tuba, in elementary and middle school. I have a bunch of various instruments. The collaborative portion of music making really caught my attention but also the act of creating is something that I gravitate towards. I dunno…I like to make things…that’s like, the thing. *laughs* I’ve been trying to get out to nature more. I want to do more sightseeing and investigating the communities of Chicago. That’s another thing, just exploring the community that I’m now back in and reengaging it in a new way. I guess that’s not really a hobby…

CC: It’s a thing to do!

AAW: *laughs* I like to go places, sometimes.

CC: Last question: if people want to see more of your work, where should they go?

AAW: They can go to my website, Instagram, and Facebook.

Noah Breuer: CB&S Werkstätte

Featured Artist:

Noah Breuer

Dates:

6/7/2019-7/27/2019

Location:

Annex of Spudnik Press Cooperative, 1821 West Hubbard, Chicago IL 60622

Corresponding Events:

Noah Breuer: CB&S Werkstätte | Opening Reception & Artist Demonstration

June 7, 2019 6:00 – 9:00pm

Press Release:

In his first Chicago solo exhibition, Noah Breuer presents prints and fabric wall hangings from his ongoing project that examines the visual legacy of “Carl Breuer and Sons” (CB&S), his Jewish family’s former textile printing business in Bohemia. The exhibition’s title, CB&S Werkstätte is a nod to the now-defunct family business that began in 1897 and was forcibly sold to Nazi-approved owners in 1942. Breuer acquired a rich digital collection of original CB&S designs and fabric samples during a 2016 research trip to the Czech Textile Museum and has used these images as the primary source material for his current work.  The exhibition features recent laser-engraved woodblock prints, large cyanotypes on cotton and an accompanying risograph-printed artist book published by Spudnik Press.   

In conjunction with the opening, Breuer will facilitate a demonstration that will allow exhibition attendees to use the laser-engraved surfaces of custom-built table-tops to make wax rubbings.  Attendees may collaborate with the artist and produce new artworks inspired by the CB&S factory designs.  The table-tops will be displayed and made available for use through the duration of the exhibition. 

About the artist:  Noah Breuer is an American artist and printmaker.  He holds a BFA in Printmaking from the Rhode Island School of Design, and an MFA in Visual Art from Columbia University. Breuer additionally earned a graduate research certificate in traditional woodblock printmaking and paper-making from Kyoto Seika University in Japan. Solo exhibitions include Spudnik Press Cooperative, Chicago, IL, Left Field Gallery, San Luis Obispo, CA, SPACE Gallery, Portland ME, and Zughaus Gallery in Berkeley, CA. He has attended residencies at the Vermont Studio Center, Ox-Bow, Kala Art Institute, Hotel Pupik, Grin City and the University of Oregon. His artist books have been published by the San Francisco Center for the Book as well as Small Editions in Brooklyn, New York. His work is in the permanent collections of the Whitney Museum of American Art, the Brooklyn Museum of Art, the Watson Library at the Metropolitan Museum of Art, and the Victoria & Albert Museum.  Currently, Breuer works as an Assistant Professor at Auburn University. 

Image:  Hops, 2018, woodcut, 22″ x 15”

 

Spudnik Press Cooperative Welcomes the 2019 Studio Fellows

Spudnik Press Cooperative is excited to announce and welcome our 2019 cohort of studio fellows: Zakia Rowlett, Hope Wang, Sean Mac, and Ally Hembree! Our Studio Fellowship program provides emerging Chicago-based artists with comprehensive professional opportunities and the technical and artistic support needed to build a successful career in the arts.  Joining us for the May 1 – December 31, 2019 term, Zakia, Hope, Sean, and Ally will take over for our outgoing fellows, Atlan Arceo-Witzl, Lisa Armstrong, Lya Finston, and Vidisha Aggarwal.The fellows play an integral role in the Spudnik Press community, as they monitor the studio during weekly Open Studio session, assist with classes, youth workshops, special projects and activate the space with programming toward the end of their fellowship. Additionally, during the 8-month program, the cohort receives full studio access to develop self-directed projects and participates in a comprehensive professional development seminar.  As expressed by the 2019 cohort of fellows, they very much look forward to the opportunity to meet the many members of our community and be part of a supportive network of artists.

2019 Studio Fellows

Zakia Rowlett
Hope Wang
Sean Mac
Ally Hembree

Call for 2019/2020 Exhibition Committee Members

Spudnik Press Members: Open Call to Join the Exhibition Committee

The Spudnik Press Exhibitions Committee is member-driven and provides a platform for our members to take the lead in the curatorial process for all Spudnik Press Exhibitions. Only in its fourth year, the Exhibitions Committee is a constantly evolving committee composed of members who are committed to advancing exhibitions at Spudnik Press Cooperative. It acts as a steering committee for all Exhibitions-related opportunities, assists with execution of all components of the Exhibitions Program and, to the extent of its ability, acts as an advocate for exhibitions within and beyond Spudnik Press.

More specifically, the committee reviews all exhibition proposals, selecting which proposals will be offered as part of the annual Exhibition Calendar, and contributes to the development of additional programs offered in conjunction with each show, such as artist talks, workshops and opportunities for our members. Each year the committee coordinates the Annual Member Exhibition, bringing energy and innovation to this group exhibition opportunity. In addition, committee members have the opportunity to develop an additional exhibition of their choosing, which could take the form of an invitational exhibition, bringing a traveling exhibition to our gallery, or jurying a thematic exhibition.

The Exhibitions Committee is fully backed by Spudnik Press staff who lead meetings, manages all exhibitions, handles budgets, etc. Committee members are asked to volunteer with various stages of each exhibition, including installation, photography and event assistance, approximately 6-8 hours per year.

By joining the committee, members are committing to a one-year positions with the option to renew each calendar year.

Meeting Dates:
Meetings are usually held on the 1st Thursday of the 1st month of each quarter, 6:00 – 8:00 p.m.

  • November 21, 2019, 6:00 – 8:00 p.m.
  • December 19, 2019, 6:00 – 8:00 p.m.
  • January 9, 2020, 6:00 – 8:00 p.m.
  • April 2, 2020, 6:00 – 8:00 p.m.
  • July 2, 2020, 6:00 – 8:00 p.m.
  • October 1, 2020, 6:00 – 8:00 p.m.

Requirements:
• Must maintain a current membership at Spudnik Press Cooperative throughout 2019.
• Must be able to commit to attending the majority of quarterly Exhibitions Committee Meetings.
• Strongly encouraged to volunteer for 6-8 hours in the production of exhibition programs. Members can select volunteer activities that best suit their skills, interests and availability.

To Apply:
• Email info@spudnikpress.org with the subject “Exhibition Committee”.
• Please include your name and phone number.
• The exhibition committee is first come, first serve. If response exceeds our capacity, a wait list will be formed.

Spudnik Press Cooperative Organizes 2nd Annual Chicago Print Crawl

2019 Chicago Print Crawl
Saturday, May 4, 2019
11:00 a.m. – 5:00 p.m.
www.chicagoprintcrawl.art

On Saturday, May 4, 2019, Spudnik Press Cooperative, in collaboration with 36 venues, presents the second annual Chicago Print Crawl, an annual, self-guided tour of printmaking production, publishing, exhibition and sales venues throughout the City of Chicago.

The Chicago Print Crawl offers a behind-the-scenes peek into Chicago’s vibrant printmaking industry. 34 eclectic printmaking venues throughout the city are inviting the public to stop by for a day of free activities including studio tours, print sales, hands-on art projects, gallery exhibitions, and printmaking demonstrations.

Chicago has been a hub for commercial printing since the late nineteenth century with dozens of mail order catalogs (Sears Roebuck and Co.), magazines (Time Magazine via RR Donnelley), and maps (Rand McNally) all produced in the area. While the printing industry has undergone tremendous change, the Third Coast continues to boast an impressive spectrum of print shops from private artist studios to commercial facilities to collectives and educational spaces. Some venues proudly house cast iron presses, tradition stone lithography, and analog processes. Other favor digital design, modern technology, or a blend of old and new. Connected to these distinctive production sites are a range of unique galleries, local businesses, and DIY spaces that bring printed items (i.e. stationary, fine art, books, posters, apparel, and more) to an audience of print-enthusiasts, art collectors, and anyone interested in craftsmanship and shopping local.

With open houses in neighborhoods from Evanston to McKinley Park and from Oak Park to Michigan Avenue, participants are invited to print their way through Chicago.

Participating Venues

2X1Y Studio
a. favorite design
All Star Press*
Anchor Graphics Archive and Chris Flynn at Columbia College Chicago*
Baker Prints*
Bert Green Fine Art
Candor Arts*
Chicago Printmakers Collaborative
Crosshair*
Current Location Press*
Dan Grzeca / Ground Up Press*
Depression Press*
Double Trip Press*
Elephant Room Gallery*
Expressions Graphics*
Fata Morgana Press
Flax Art and Frame*
free range
Galerie F
Halftone Projects*
Hoofprint*
Jeffrey Hirst Studio*
Lillstreet Art Center*
MAKE Letterpress Studio*
MANA Contemporary Chicago*
marimacha monarca press*
Matt Bodett and Megan Sterling
Neighborly
One After 909*
Renee Robbins Studio*
Rockwell Artist Collective*
Sonnenzimmer*
Spudnik Press Cooperative
Starshaped Press
Steel Petal Press
Weber Studio*

*first-time participant

Media Contact: Angee Lennard , angee@spudnikpress.org, (312) 563-0302

Eternal Recurrence: New Editions from Spudnik Press Cooperative

Featured Artists:

Carris Adams, Claire Ashley, Judith Brotman, Elijah Burgher, Holly Cahill, Lilli Carre, Dana Carter, Tom Christison, kg, Jonathan Herrera, Richard Hull, Anita Jung, Raeleen Kao, Chad Kouri, Benjamin Larose, Judy Ledgerwood, Faheem Majeed, David Leggett, Caroline Liu, Jereon Nelemans, Paul Nudd, William J. O’Brien, Roni Packer, Steve Reinke, Kay Rosen. Alice Tippit, Orkideh Torabi, Amanda Williams, Brittney Leeanne Williams

Dates:

4/5/2019 – 5/25/2019

Location:

Spudnik Press Cooperative (Printshop & Annex)

Corresponding Events:

Opening Reception & Publisher’s Talk
Friday, April 5, 2019
6:00 – 9:00pm

Press Release:

Eternal Recurrence: New Editions from Spudnik Press Cooperative features prints by 28 artists who recently developed new print-based projects through the Spudnik Press Cooperative Residency and Publishing Programs.

The Spudnik Press Cooperative Residency Program provides artists unfettered studio access to produce a new body of print-based work. For the first time in 2018, the Residency Program was open to national artists in addition to local artists. Renowned printmakers Anita Jung and Tom Christison travelled from Iowa City to be our first regional visiting artists.

The Spudnik Press Cooperative Publishing Program invites artists representing a variety of contemporary disciplines—ranging from painting and drawing to performance and experiential art making—to develop a fine art print in collaboration with professional printers at Spudnik Press.

Together, these programs provide entry point into the unique facets of printmaking, such as its historical and cultural roots as a social art practice and its role in contemporary art practices.

The phrase Eternal Recurrence is borrowed from Steve Reinke’s print entitled Eternal Recurrence of Shame from his series featuring absurd, crude, humorous, and poetic aphorisms and short phrases. Reinke’s piece references a phenomenon Nietzsche calls “eternal recurrence” in a passage from The Gay Science. In the passage, Nietzsche asserts that existence may recur in an infinite cycle as energy and matter transform over time.

The artists included in this exhibition maintain a wide range of studio practices and experiential art making. Eternal Recurrence reflects the continual transformation of ink and paper to reflect artists’ visions and honors the act of creation as a continuous process responsive to a particular time and place–a particular recurrence of the infinite possibilities.

The work in Eternal Recurrence features screenprinting, relief, letterpress, intaglio, and monoprinting techniques, using a range of traditional and nontraditional materials and bringing together an impressive collection of artists. Each prints reflects the artist’s vision and dedication to their individual practices while showcasing the creative, analytical and technical processes of art making.

Image: Cerulean Blue Series #2, kg, 2017

Call for Artwork: LA Art Book Fair & Chicago Print Crawl **extended deadline**

NOTE:  We are accepting artist submissions for the Chicago Print Crawl until April 19, 2019!  

Spudnik Press Cooperative is thrilled to extend two opportunities to our members for our organization to represent your work! First, Spudnik Press is headed to the LA Art Book Fair (April 12-14) to show off our organization AND YOUR ARTWORK to a national audience. Then, Saturday, May 4, we are turning our gallery into a show room during the 2nd Annual Chicago Print Crawl!

LA Art Book Fair
April 12-14, 2019

Chicago Print Crawl
May 4, 2019 11:00 a.m. – 5:00 p.m.
(Sale is 1:00 – 5:00 p.m. at Spudnik Press)

We are seeking:

  • Zines
  • Printed ephemera like stickers and coasters
  • Apparel (totes, tea towels, etc.)
  • Artist Books
  • Smaller prints (up to 11″ x 14″)
  • Items prices from $1 – $100

To Participate:

  • Bring up to 25 items to Spudnik Press by April 19, 2019
  • Email your CV, bio, titles, medium, and prices to susannah@spudnikpress.org by April 19, 2019.
  • Artist will be paid a 50% commission by 5/15/19.
  • All unsold artwork must be picked up between 5/15 and 6/15/19.
  • Email susannah@spudnikpress.org with any questions.