3rd Annual Hand Pulled Prints: The Current Practice in Printmaking
Oct 22

3rd Annual Hand Pulled Prints: The Current Practice in Printmaking

  • Site:Brooklyn

Opening Reception: Friday September 22, 2017 from 6-9PM


We are fortunate to have the highly respected Marina Ancona as the juror. Master Printer Marina Ancona founded 10 Grand Press, an independent print shop that specializes in fine art printing processes and techniques located in Brooklyn, New York and an additional location Santa Fe, New Mexico.

Marina Ancona’s publishing and collaborative projects have been exhibited internationally, including the Guggenheim Museum, Museum of Modern Art, Whitney Museum of American Art, Leo Koenig Gallery, Art in General, and Museo Nacional Centro de Arte Reina Sofía, Institute of Contemporary Art. She has conducted lectures and workshops at Bard College, Sarah Lawrence College, SUNY Purchase, and Pratt Institute, Park Avenue Armory Print Fair, among other institutions. Ancona has collaborated with a range of artists, such as Nicole Eisenman, Jose Maria Sicilia, Jeff Gibson, Karen Heagle, Nicola Lopez, Carrie Moyer, Emily Roysdon, Angela Dufresne, and Harmony Hammond and more.

 Before opening 10 Grand Press, Marina Ancona worked in print shops in Santa Fe, Paris, and New York. She has studied at the Boston Museum School and taken master classes with Helen Frankenthaler, Ken Noland, and Susan Rothenberg at the Santa Fe Institute of Fine Arts. 


Jan 1

Michelle Zassenhaus & Denise Amses at The Yard

Michelle Zassenhaus

Artist Statement

As a photographer, particularly a long-exposure photographer, I’m interested in the essence of a place – the signature – which emerges when the surface ephemera give way to the underlying structure.

In cities like New York and Chicago – cluttered with people, buildings and things – the horizon is obscured. The periphery reveals the horizon, and like a cross-cut section, the nature of the ground on which the city is built.

These images are portraits of the periphery. During exposures of [often] several minutes, what’s fleeting escapes the lens; what’s fundamental bores into the image.  Much as a painter manipulates paint, I exploit the physical properties of film to tease out the subtle beauty of place.

Like portraits of people, these images are an exploration of the spaces' essence, discrete vocabulary, mannerisms, structures, shapes, colors, climates and stories told by the elements left behind: failed piers, jetties, efforts to manage the transitions between land and water.  They are also a celebration of the beautiful surprises found within the city limits at the water’s edge.

Denise Amses

Artist Statement:

My artistic practice traverses painting, prints, and public glass and light installations. Though working in numerous media, a few themes permeate my artwork. I engage with natural and geometric forms, plant and biological structures, and the imagery of the cosmos.

I draw from observation, visual interpretations of scientific phenomena, and the boundaries between representation and abstraction. These are points of departure. Central to my approach is the creation of a personalized universe, where I visually explore everything from the details of a dandelion seed to the geometric expression of an exploding star. In my process, I mask, cut, and use translucent layering to create depth and interplay between shape, surface, and color.

In my public work I seek to awaken people to their surroundings. Art can make a place resonate with beauty, history, or poetry by transforming people’s awareness and defining a space. Through the process of forming, casting, and carving I create large scale glass installations, exploring visual materiality, light and place.