Margaret Nussbaum is a founding member, former President, Treasurer, Board Member and ongoing Silkscreen Instructor of Manhattan Graphics Center since 1986. Over this time so many artists have discovered the joy of screenprinting whether for professional or personal goals and together have shared their experience and knowledge.
"I originally trained as a painter and my chosen means of expression is now silkscreen. I discovered that screenprinting can be approached in a manner similar to painting. The essence of the medium allows me to be both precise and spontaneous. Whether I am choosing to make an edition or a monoprint, I start with some pre-planning. My ideas typically evolve as I am printing. Background textures, images and colors coalesce as the work progresses. I will add to a print until I sense that it is complete and reached its certain conclusion. The fundamental nature of screenprinting gives credence to the belief that one more element is always possible, when to stop is the abiding problem and my mantra to remember.
All my art is initially hand-drawn and then processed for silkscreening. A few prints include social content but now most are more personal and reflect my joy in the “Zen of screenprinting” both in its creation and its often times surprising results."
Robin Dintiman works in print, sculpture, and drawing. She has taught in colleges and print shops on the East and West coasts. Dintiman has received fellowships from the Yaddo Corporation, Dorland's Mountain Colony, and Cooper Union. Her work has been exhibited in venues in the U.S. and Europe, and is featured in the permanent collections of the Philadelphia Art Museum, the National Museum for Women in the Arts, the Chrysler Museum, and the Arkansas Center for Contemporary Art..
"I have found reverie well as inspiration in the natural environment. I am sure it is the “waitingness” of it, as well as the “beckoning ” of it, that captures me. The intense physicality in nature; the shear will of it’s materials, a material will is what is most riveting.
In the photogravure process, I focus on how to accentuates the numinous quality of landscape. Trees with their digging into dark earth to grow, then reaching to catch the light, resonate their intent. The process releases the tree from real life so that it becomes something more boundless, a personal artifice.
The process of printmaking, the repetition of an image, allows me to concatenate ideas. Images are subsumed after many phases, the process is what I find most interesting and generative. In these etchings and collagraphs, I collected many tent caterpillar nests to create line and texture. These mundane, even repulsive nests, gave hundreds of random forms after drying them and flattening them to use for printing. These discarded remnants, ordinary and unremarkable, become transformed to lacey intricate webs. I found working an image through many phases, to evoke reverberations, the memory becomes palpable.