team screen - Recently Updated Pages

Fresh from the Factory

jschmidt — Thu, 30 Apr 2009 15:38:06 CDT

MAY 10 / LAST DAY OF SCREEN SHOP ACCESS

Please remove all artwork and materials from drawers and lockers.

No materials may be stored over the summer, including large works in classroom storage areas.

Any artwork or materials that remain will be discarded.

If you have any additional questions, please contact the Printmaking Technician, nicole.kita@gmail.com

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SCREENPRINT SPRING BREAK MONITOR SCHEDULE

Saturday, March 14: TERESA (12 – 4)
Sunday, March 15: NO MONITOR AVAILABLE
Monday, March 16: NO MONITOR AVAILABLE
Tuesday, March 17: NO MONITOR AVAILABLE
Wednesday, March 18: JESSICA (12 - 4)
Thursday, March 19: NO MONITOR AVAILABLE
Friday, March 20: TERESA (12 – 4)
Saturday, March 21: TERESA (12 – 4)
Sunday, March 22: NO MONITOR AVAILABLE

BUY YOUR SMFA SCREENPRINTING MANUAL FOR CLASS
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ALL STUDENTS MUST PURCHASE A COPY AT THE START OF THE SEMESTER
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GOTO: THE PRINT HOUSE ( 1 BLOCK UP FROM MASS ART ) - COST $ 9

The Print House
660 Huntington Avenue
Boston, MA 02115
Phone: 617-566-7594

*** HAPPY HOLIDAYS ***

Screenprinted card made by Madeline Donahue + Josj Copp

Visiting Artists in Screenprinting : Wed, Nov 19
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Robert Blackburn Printshop - Phil Sanders
Wed, Nov 19 @ 12:30pm
Screenprinting Studio

The Robert Blackburn Printmaking Workshop (RBPMW) is a co-operative printmaking workspace located in New York CIty that provides professional printmaking facilities to artists and printmakers of any skill level. The RBPMW seeks to assist and facilitate the production of fine art prints to the highest professional level. It is our belief, that by providing unfettered access to professional equipment, printers, and print techniques, the overall quality of fine art prints being produced will be elevated. This elevation positively affects the health of the print market as a whole, helping to foster an environment of aesthetic, creative, and technical innovation. http://efa1.org/rbpmw/

Visiting Artists in Screenprinting : Tue, Nov 4 + Wed, Nov 5
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Asuka Ohsawa
Tue, Nov 4 @ 9am

Asuka Ohsawa builds upon on the legacy of the Japanese giga, which literally means “humorous picture,” a style of painting that used seemingly comical images, such as animals engaged in human activities, to inform an often politically motivated satire. Much like the giga, Ohsawa’s unadorned graphic technique belies the tension of her drawings, in which social issues are articulated through the strange fables of humanlike animals that exhibit cross-cultural and inter-species distrust.

Adriane Herman

Wed, Nov 5 @ 9am

Adriane Herman investigates consumption through appropriated imagery and media ranging from archival to edible. Sites of recent and upcoming solo exhibitions include Western Exhibitions (Chicago), the Center for Maine Contemporary Art, the Ulrich Museum (Wichita), and Whitney Artworks (Portland). Recent group exhibitions include those at Adam Baumgold Gallery (New York); The Dalarnas Museum (Falun, Sweden); Portland Museum of Art, (ME); The Herbert F. Johnson Museum of Art (Ithaca); and chosen barren land (Tainen, Taiwan). Herman’s Limited Edition Cookies were included in Digital: Printmaking Now at the Brooklyn Museum of Art and her higher fiber work has been collected by The Whitney Museum of American Art, The Herbert F. Johnson Museum of Art, The Art Institute of Chicago, The Progressive Corporation, and The Walker Art Center. Herman holds a B.A. from Smith College and an M.F.A. from the University of Wisconsin-Madison. Her independent efforts to normalize consumption of fine art dovetail with collaborative efforts such as Slop Art and projects undertaken with students at Maine College of Art, such as “Long Overdue: Book Renewal,”which yielded 175 artworks temporarily collectible through Portland Public Library. Herman has explored content in context with BFA and MFA students at Kansas City Art Institute and Maine College of Art, where she is currently Associate Professor of Printmaking / New Media and Foundation Department Chair. http://www.slopart.com, http://www.adrianeherman.com

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Beyond a Memorable Fancy

October 30- December 13, 2007
Opening reception Saturday, November 1, 6-9 p.m.

Curated by: Michelle Levy

Artists: Glen Baldridge, Robert Buck, Benjamin Cohen, Nayda Collazo-Llorens, Ian Cooper, Jenelle Covino, Alex Dodge, Rachel Foullon, David Gatten, Dylan Gauthier, Graffiti Research Lab, Lynne Harlow, Adam Helms, Wennie Huang, Matthew Day Jackson, Heidi Neilson, Evan Roth, Jennifer Schmidt, Peter Simensky, Mary Temple, and Stephan von Muehlen.

Beyond A Memorable Fancy is an exhibition about printmaking, perception, and artistic intervention. The artists pioneer the use of print to filter and transcend the way we see the world around us. Every work dictates the reinvigoration of an idea, a revelatory moment, an expansion of the mind.

Elizabeth Foundation for the Arts
323 West 39th Street, 2nd Floor
New York, NY 10018
between 8th and 9th Avenues

http://efa1.org/gallery/beyond-a-memorable-fancy/

Gallery Hours: Wed - Sat, 12-6 PM

T. 212-563-5855 x 151
projectspace@efa1.org

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VISITING ARTIST - ANDREW MOWBRAY
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

THIS WEDNESDAY, OCT 22 @ 9am in the screenshop

www.andrewmowbray.com

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Dieu Donne' - Sue Gozen

Presentation: Wednesday, Oct 8 @ 9am
Location: Screenprinting Studio

Founded in 1976, Dieu Donné Papermill is a non-profit artist workspace dedicated to the creation, promotion, and preservation of contemporary art in the hand papermaking process. In support of this mission, Dieu Donné collaborates with artists and partners with the professional visual arts community. Dieu Donné is housed in a 7,000 square foot ground-floor facility at 315 West 36th Street, NY, NY, where it maintains a studio, gallery, and archive. http://www.dieudonne.org < Organized by Michelle Samour, Print + Paper Area >

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Summer Screenprinting Dance

access

jschmidt — Mon, 23 Feb 2009 22:01:32 CST

The screenprinting studio is open for use when classes are in session. In order to have access, students must be currently enrolled in an SMFA screenprinting class or have permission from the instructor.

Students may use the shop outside of classtime to print and work on projects independently by checking out a key from the security guard at the front desk. Students only have access to the exposure unit during posted monitor hours.

? Questions ? may be directed to: Jennifer Schmidt and Nicole Kita

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MONDAY
Monitor 4-6pm: Jessica Scott-Dutcher
Class 6:30-9:30pm: No Access > ta: Ingrid Sanchez

TUESDAY
Class 9-5pm: No Access > ta: Chad Arnholt
Monitor 6-9pm: Diego Guzman

WEDNESDAY
Monitor 3-5pm: Helen Miller
Monitor 6-9pm: Jessica Scott-Dutcher

THURSDAY
Class 9-5pm: No Access > ta: Melinda Go
Monitor 6-8pm: Eric Erdman

FRIDAY
Monitor 2-4pm: Teresa Partridge

SATURDAY
Monitor 12-4pm: Teresa Partridge

SUNDAY
Monitor 12-4pm: Chuva Featherstone.

links

jschmidt — Tue, 23 Dec 2008 09:20:57 CST

*fonts*

free + innovative fonts for download

*pantone*

pantone color bridge
pantone home

*podcasts*

ps1 radio
bad at sports

*curating*

curating info blog
public collectors
ffffound

*exhibition venues*

mit list center, boston
ica boston
risd museum
gallery agniel
fogg art museum, harvard
printed matter, nyc
moma, nyc
whitney museum, nyc
guggenheim
new museum, nyc
international print center new york
andy warhol museum
deitch projects

*fair use*

-related to jeff koons' case
http://www.law.com/jsp/article.jsp?id=1162215323449
http://newsgrist.typepad.com/underbelly/2006/01/koons_wins_land.html
http://www.law.harvard.edu/faculty/martin/art_law/image_rights.htm
-culture jamming + art
http://www.illegal-art.org
http://www.stayfreemagazine.org
the yes men

*supplies*

victory screen supplies
dick blick

www.ikon.com
Ikon Office Solutions
11" x17" Transparency Sheets
$48.54 per box (100 sheets) - Ikon # HSCA/5/B
Clear Heavy Weight Transparency Film
11 x 17 High Heat 100 Sheets

*t-shirts*

jiffy Shirts
threadless
utube video - make magazine

*artists*

jennifer schmidt
rhonda ratray (alum)
harvey loves harvey
elaine bay (alum)
rebecca bird grigsby (alum)
melinda go (alum)
janine biunno (alum)
nicole kita (alum)
rachel deurioste (alum)
miracle 5
chris sperandio
martin pavlinic (alum)
ryan mcginness
chris ware
christine tarkowski
ryan mcginness
general idea
temporary services
cory arcangel

*design*

sagmeister

*posters*

gig posters
center for the study of political graphics
fork screw
yo what happened to peace

flatstock

*multiples*

cereal art

agnes b

*screen how-to*

wiki screenprinting
make magazine- how to screenprint "the wolf"

*artist resources / opportunities*

artswire
rhizome
16 beaver group
college art association
massachusetts cultural council
new york foundation for the arts
lower manhattan cultural council

*artist residency with ephemera*

elsewhere artist collaborative
elsewhere: link to jenn's blog + other artists' blogs

*sound / music*

issue project room
non event
diapason
the kitchen

*online art mags + blogs*

big red & shiny
stay free! magazine
drain journal of contemporary art + culture
art fag city

printeresting blog
edward winkleman

* printmaking events / conferences *

southern graphics conference
mid america print council
philagrafika

event calendar

jschmidt — Wed, 29 Oct 2008 09:46:34 CDT

VISITING ARTIST SCHEDULE

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Visiting Artists for Fall 2008
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Debra Olin
Presentation: Tuesday, October 7 @ 9am, Workshop: 2pm
Location: Downstairs Printshop
Organized by Carolyn Muskat

Somerville artist who works with mixed media and various print processes such as collograph and monoprinting.

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Dieu Donne' - Sue Gozen
Presentation: Wednesday, Oct 8 @ 9am + Thursday, Oct 9 @ 9am
Location: Screenprinting Studio
Organized by Michelle Samour

Founded in 1976, Dieu Donné Papermill is a non-profit artist workspace dedicated to the creation,
promotion, and preservation of contemporary art in the hand papermaking process. In support of this mission, Dieu Donné collaborates with artists and partners with the professional visual arts
community. Dieu Donné is housed in a 7,000 square foot ground-floor facility at 315 West 36th Street, NY, NY, where it maintains a studio, gallery, and archive. http://www.dieudonne.org

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Andrew Mowbray
Presentation: Wednesday, October 22 @ 9:30am
Location: Screenprinting Studio
Organized by Jennifer Schmidt

Andrew Mowbray, received his BFA from Maryland Institute College of Art and his MFA from Cranbrook Academy of Art. He recently had a solo exhibition titled Tempest Prognosticator at Gallery Diet in Miami, Florida. His work has been exhibited extensively nationally and also internationally and often explores the context of the gallery and contemporary notions and paradigms of masculinity. He has received grants from The Massachusetts Cultural Council, The LEF Foundation and the Artists Resource Trust. Andrew is a Visiting Lecturer at Wellesley College and lives and works in Boston, Massachusetts. www.andrewmowbray.com

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Asuka Ohsawa
Presentation: Tuesday, November 4 @ 9:00am
Location: Screenprinting Studio
Organized by Jennifer Schmidt

Asuka Ohsawa (b. 1973, Torrance, CA) lives and works in Brooklyn, NY. She received a MFA from the School of the Museum of Fine Arts, Boston and a BFA from California State University, Long Beach. She has been included in exhibitions at the Museum of Fine Arts, Boston; the National Japanese American Historic Society, San Francisco; the Asian American Arts Centre, New York; Sixspace, Los Angeles; and Freight + Volume, New York, among others. Her work has been reviewed in numerous publications including: The New York Times, Draft, Art on Paper, The Boston Globe, and Art New England.

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Adriane Herman
Presentation: Wednesday, November 5 @ 9:00am
Location: Screenprinting Studio
Organized by Jennifer Schmidt

Adriane Herman investigates consumption through appropriated imagery and media ranging from archival to edible. Sites of recent and upcoming solo exhibitions include Western Exhibitions (Chicago), the Center for Maine Contemporary Art, the Ulrich Museum (Wichita), and Whitney Artworks (Portland). Recent group exhibitions include those at Adam Baumgold Gallery (New York); The Dalarnas Museum (Falun, Sweden); Portland Museum of Art, (ME); The Herbert F. Johnson Museum of Art (Ithaca); and chosen barren land (Tainen, Taiwan). Herman’s Limited Edition Cookies were included in Digital: Printmaking Now at the Brooklyn Museum of Art and her higher fiber work has been collected by The Whitney Museum of American Art, The Herbert F. Johnson Museum of Art, The Art Institute of Chicago, The Progressive Corporation, and The Walker Art Center. Herman holds a B.A. from Smith College and an M.F.A. from the University of Wisconsin-Madison. Her independent efforts to normalize consumption of fine art dovetail with collaborative efforts such as Slop Art and projects undertaken with students at Maine College of Art, such as “Long Overdue: Book Renewal,”which yielded 175 artworks temporarily collectible through Portland Public Library. Herman has explored content in context with BFA and MFA students at Kansas City Art Institute and Maine College of Art, where she is currently Associate Professor of Printmaking / New Media and Foundation Department Chair.
http://www.slopart.com, http://www.adrianeherman.com

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Robert Blackburn Printshop - Phil Sanders
Presentation: Wednesday, November 19 @ 12:30pm
Location: Screenprinting Studio
Organized by: Erika Adams

The Robert Blackburn Printmaking Workshop (RBPMW) is a co-operative printmaking workspace that provides professional printmaking facilities to artists and printmakers of any skill level. The RBPMW seeks to assist and facilitate the production of fine art prints to the highest professional level. It is our belief, that by providing unfettered access to professional equipment, printers, and print techniques, the overall quality of fine art prints being produced will be elevated. This elevation positively affects the health of the print market as a whole, helping to foster an environment of aesthetic, creative, and technical innovation. http://efa1.org/rbpmw/

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Faculty Travel Talks- What I Did Last Summer
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Jennifer Schmidt : Russia, Poland, and Berlin
When: Wednesday, October 1 @ 12:30pm
Where: Screenprinting Studio

Erika Adams : Belgium and Beyond
When: Wednesday, October 22 @ 12:30pm
Where: Screenprinting Studio

Rhoda Rosenberg : South Africa
When: Wednesday, Oct 19 @ 12:30pm
Where: Screenprinting Studio

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Visiting Artists for Spring 2009
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Rob Charlton - Goosefish Press, SMFA Print Alumni
Presentation: April 10, 2009 (Accepted Candidates Day) ? TBA
Organized by: Carolyn Muskat and Peter Scott

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RECOMMENDED EXHIBITIONS - FALL 2008
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< BOSTON >

MIT LIST VISUAL ARTS CENTER
Adel Abdessemed: Situation And Practice
October 11, 2008-January 4, 2009

ICA
Street Level
Through October 19, 2008

Street Level presents recent work by three promising artists whose works draw directly from street culture: Mark Bradford (Los Angeles), William Cordova (Lima, Miami, New York) and Robin Rhode (Cape Town, Johannesburg, Berlin). Using metropolitan grids, billboards, boom boxes, and graffiti as open-ended metaphors, their works both celebrate and critique how cultural territory is defined and transformed in urban environments.

Bradford is best known for large-scale collages of old posters gathered from the streets of South Central Los Angeles that he tears, bleaches, sands and reconfigures as abstractions of the city landscape. Cordova's mixed-media drawings and installations of discarded books, stereo speakers, car tires, and record albums use such images and forms to allude both to his Peruvian heritage and modern urban subcultures. Inspired by graffiti, film, sports and hip-hop, Robin Rhode creates performances that involve the buildup and erasure of drawings in public spaces. He performs with his drawings as if they were three-dimensional props and documents them with digital photography and stop-time animation. While the materials, vernacular, and sites of their practices are distinct, they share a poetic power to both ground and elevate our sense of what shapes street life today.

Street Level was originally organized by Trevor Schoonmaker for the Nasher Museum of Art at Duke University. The exhibition presented in Boston features 19 works from 2001 and 2008, including large-scale canvases, intimate works on paper, photography, video, and a new sculptural installation by Cordova commissioned by the ICA.

MASS ART
The Speaker Project
September 22 through November 22

Chicago-based artist Juan Angel Chavez will create a multi-directional, multi-layered sound experience at MassArt this fall. Comprised of found material we see everyday-such as old billboard signs, wood panel siding and traffic cones-part sculpture, part speaker, the Speaker Project will turn the gallery into an interactive sound studio. Special performances will take place during the run of the exhibition.

MUSEUM OF FINE ARTS, BOSTON
Rachel Whiteread
Wednesday, October 15, 2008 - Sunday, January 25, 2009

Widely known in contemporary art circles for her public monuments, including Water Tower (1998) in New York (now in the collection of The Museum of Modern Art) and Holocaust Memorial (1995/2000) in Vienna, Rachel Whiteread considers the scale and structure of familiar forms through the overlooked spaces essential to their identity. Throughout her twenty-five year career, Whiteread has created a critical body of work that addresses our presence, relationships, and the power of the past. Rich with meaning, her sculpture is also conceptually rigorous and formally evolves from the tenets of minimalism.

This exhibition features the US premiere of her most recent work, Place (Village) (2006-08) and traces the position of domestic objects through sculptures and drawings. Over several years, Whiteread has collected handmade English dollhouses and configured them into a sprawling "community" filled with haunting memories and melancholy. Place (Village), encompassing the left side of the Foster Gallery, appears as if it was discovered at night. In contrast to this installation are individual sculptures from an early floor piece cast in rubber as well as more recent "stacks" cast from the interior of tattered boxes.

ROSE MUSEUM @ BRANDEIS UNIVERSITY
Project for a New American Century
September 26-December 14

“Project for a New American Century” is the title of an 80-foot long work on paper by artist Dominic McGill, which will be featured in this exhibition of new works from the Rose collection. McGill’s monumental artwork is a panoply of images, texts, slogans and multiple narratives that addresses America’s complex history and current status as an economically wounded and threatened world power. Presented on the eve of America’s next presidential elections, McGill’s work addresses issues crucial to us all.

In the past three years, the Rose has been given or was able to purchase more than 60 works of art that reflect the most important trends in contemporary art. “Project for a New American Century” will include paintings, photographs and works on paper from dozens of artists, including Matthew Antezzo, Roy Arden, Joanne Greenbaum, David Reed, Beat Streuli, Jim Hyde and Jessica Stockholder. The exhibition is curated by guest curator Randi Hopkins.

< NEW YORK >

COOPER HEWITT NATIONAL DESIGN MUSEUM
Wall Stories: Children's Wallpapers and Books
On view: October 3, 2008–April 5, 2009

This exhibition will explore the relationship between wallpapers and books created for children through works from the permanent collection and the National Design Library. From their beginning in the 1870s, children's wallpapers have been strongly influenced by literature and popular culture. Works on view will include papers illustrated with nursery rhymes and designs inspired by works of fiction and adventure, such as Peter Rabbit, Alice in Wonderland, and Cinderella. The exhibition also will trace the evolution of children's books from instructional to fictional and include developments such as movable and pop-up books, which added an interactive element to children's reading.

NEW MUSEUM
Museum as Hub: Six Degrees
September 25-January 11, 2009

In "Museum as Hub: Six Degrees" artists use the real estate of the New Museum as organizing principle, departure point, vista, and classroom to imagine the changing relevance of the Museum and its environs. Expanding the concept of an exhibition, "Six Degrees" refers to the angle of the Bowery off New York City’s grid and begins with Night School, a monthly seminar series organized by Anton Vidokle that features artists, writers, and curators in conversation with the public over the course of the year. Works by Dave McKenzie, My Barbarian (Jade Gordon, Malik Gaines, and Alexandro Segade), Martha Rosler, Lisa Sigal, Ginger Brooks Takahashi, and Anton Vidokle continue to occupy and engage the neighborhood by employing nearby buildings as canvas, local artists as collaborators, and New Museum territory as a meeting place, recital hall, and laboratory.

Organized by Eungie Joo, Keith Haring Director and Curator of Education and Public Programs.

A partnership of five international arts organizations, Museum as Hub is a new model for curatorial practice and institutional collaboration established to enhance our understanding of contemporary art. Both a network of relationships and an actual physical site located in the New Museum Education Center, Museum as Hub is conceived as a flexible, social space designed to engage audiences through multimedia workstations, exhibition areas, screenings, symposia, and events. Initiated by the New Museum in 2006, the partnership includes Insa Art Space (Seoul, South Korea); Museo Tamayo Arte Contemporáneo (Mexico City, Mexico); Townhouse Gallery of Contemporary Art (Cairo, Egypt); and Van Abbemuseum (Eindhoven, The Netherlands).

BROOKLYN MUSEUM
Gilbert & George Retrospective
October 3, 2008–January 11, 2009

The Brooklyn Museum is the final venue of an international tour of the first retrospective in more than twenty years of work by the internationally acclaimed artists Gilbert & George. The exhibition comprises more than eighty pictures created since 1970, among them more than a dozen that are only in the Brooklyn presentation. The exhibition traces their stylistic and emotional evolution through their pictures and art in other media, ranging from charcoal on paper sculpture from the early 1970s to postcard pieces to ephemera dating back to the 1960s.

Gilbert and George met in 1967 while students at St. Martin’s Art School in London. They began to create art together, developing a uniquely recognizable style both in their pictures and in their presentations of themselves as living sculptures. Over more than forty years, they developed a new format that created large-scale pictures, which are visually and emotionally powerful, through a unique creative process. Most of their pictures are created in groups and made especially for the space in which they are first exhibited.

The artists’ art, which is sometimes seen as subversive, controversial, and provocative, considers the entire cosmology of human experience and explores such themes as faith and religion, sexuality, race and identity, urban life, terrorism, superstition, AIDS-related loss, aging, and death. Included in the exhibition are selections from the Ginkgo Pictures, which was part of the exhibition that represented the United Kingdom at the 2005 Venice Biennale; examples from the 1974 Cherry Blossom Pictures: Finding God, 1982, a huge, complex composition featuring images of the artists, several young men, and a cross; and more recent works, among them two pictures from the Six Bomb Pictures, created for the inaugural presentation of the exhibition at Tate Modern. The Six Bomb Pictures was intended by the artists to be seen as modern townscapes reflecting the daily exposure in urban life to bomb threats and terror raids.

MOMA- Always a Good Bet! As well as, the Whitney Museum of Art...

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recipes + tips

jschmidt — Wed, 29 Oct 2008 08:54:35 CDT

How to Make Wheat Paste

Prepare 1 cup (2.4 dl) of very hot water. Make a thin mixture of 3 tablespoons (45 ml) of white flour and cold water (just enough to wet all the flour and make it liquid enough to pour). Pour the cold mixture slowly into the hot water while stirring constantly. Bring to a boil. When it thickens, allow to cool. Smear on like any other glue. For slightly better strength, add 1 tablespoon (15 ml) of sugar after the glue is thickened. After using a portion, reheat the remaining in a covered jar or container to sterilize it for storage or keep refrigerated. If wheat flour is not available, other flours will work.

Large Format Inkjet Printer Tips + Warning

Please do not attempt to use the large format printer in the mac lab for halftone color separation prints. It prints a dither pattern rather than a dot, and will not do what you want - like with the laser printers in the shop. An alternative is: to tile your image using illustrator to print out larger (instructions in the screen tech manual) or go to an architectural reprographics store and have them print out your file large-scale. I have had problems with the consistency and darkness of the toner at Kinko's, and don't recommend them. Remember: The most important thing is to not be able to see light coming through the black areas of your print-out before exposing. If you do, it is not dark enough and will not burn properly.

You may use the large format inkjet printer in the mac lab for line work + images that do not require a halftone, however, you need to print out two copies and double up your transparencies before exposing. The inkjet toner is not dark enough as one layer.

resources

jschmidt — Wed, 29 Oct 2008 08:54:14 CDT

Books on Reserve- I have placed a number of books on reserve in the library that cover a broad range of topics, artists, and techniques that I feel will be helpful to your study of printed media.

Large Format HP Printer- Most of you are aware of the large format printer in the computer lab; however, I would like to encourage you to use it if you haven’t already. It is a great resource for either proofing an image, or to blow an image up large scale. Plus, it is a great $$ deal. Outside of school it would cost you roughly $17 a square foot to have a print made using this type of machine.

The Ancient Light Table- Works for exposing large screens that do not fit in the Exposure Unit. Exposure time is 1 hour. Lay your print-out face up on the table with your screen mesh-side down on top. Weight down the screen with the padded boards (found under the light table) and ink containers.

Large Screens- There are several large screens that can be signed out for use during the semester. Please see me if you are interested.

Printing with Enamel / Oil-Based Screen Ink- If you desire to print with oil-based ink for a special project you can not print in the screen shop. There is not proper ventilation. You must speak with Rhonda in the downstairs shop to learn the proper procedure for printing and clean-up. There will be no printing with vinyl ink at the school. It is too toxic.

Sewing Machines- We have a sewing machine you can use for projects.

Printing on Fabric- We have a large 4' x 8' padded tabletop that you can use to print on fabric, as well as small masonite boards for printing on t-shirts.

Printing Repeats- We have a t-square registration system and home-made rail system that you can use to print repeats. Ask your instructor for more information.

Textile Ink- Each student must provide their own textile ink.

Wood Shop-To cut wood for screenprinting projects speak with Walter in the Wood Shop about the rules and regulations for access.

Saving Digital Files- Each computer in the screen shop is outfitted with a CD/DVD burner. You may also save your files to a *memory stick*, or your student folder by logging onto the server.

Hand-Outs / Technical Booklet- Please purchase your screenprinting tech booklet @ The Print House - 660 Huntington Avenue ASAP. This contains all of my demo handouts, which you will surely need in order to learn how to print☺ Required!

SMFA Team Screen Website: We have a website that features downloadable handouts, announcements, artwork, links, and shop info > www.teamscreen.wetpaint.com

smfa screen shop

jschmidt — Sat, 06 Sep 2008 20:49:31 CDT

coming soon

current exhibition

jschmidt — Sun, 25 Nov 2007 15:02:10 CST

TEAM SCREEN: Multiple Acts, Part 2
Mission Hill Building Gallery @ SMFA > November 16 - December 11

Artists: Ben Smart, Jack Schneider, Tina Ye, Heather Sawyer, Terrance Wong, Melinda Go, Sarah Pierce, Gabe Krug, Kate Papineau

Reception > Wednesday, November 28, 4-7pm

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Artists in the Exhibition:

Melinda Go
Angel in the House, 2007
Silkscreen on Cotton Fabric with Air Circulating Fans

When I was young I little Thought
That Wit must be so dearly bought
But Now Experience Tells me how
If I would Thrive then I must Bow
And bend unto another’s will
That I must learn both art and skill
To Get My Living with My Hands
That so I might be free from Band
And My Own Dame that I may be
And free from all such slavery.
Avoid vaine pastime fle youthfull pleasure
Let moderation always Be My measure
And so prosed unto the heavenly treasure.

-Anonymous, from 17th century embroidery sampler

Benjamin Smart
Smart World Public ( Installation 1 ), 2007
Screenprint on Foamcore, Laser-printed Brochures, Plastic Brochure Holders, Screenprinted Certificates, Plastic and Glass Picture Frames, Screenprinted Shipping Tags, Found Objects.

Smart World Public was founded by Benjamin Smart in 2007, as a means of bringing order to an endlessly pluralist western art world. After establishing this art academy, Smart declared that everything in the world is not art unless it holds record of endorsement by Smart World Public. The previously existing “Office of Art World Notary” was then adopted by SWP to appoint, objects and events as being “Fine Art” (and to keep records of recognized art). SWP's other branch, “Artistic Services”, was then established to provide a platform for the general public to commission creative artworks by “Official Artists”. Currently, Smart World Public is in early stages of growth, but is aspiring to legitimately actualize its slogan: "The Best Art Academy of All Time."

Sarah Pierce
Untitled, 2007
Mixed Media Costume

This piece uses screenprinting as an additive to costume design. It brings details and dimensionality to the fabric which directly relate to its' shape, rather than relying on a provided pattern. The whole piece speaks about hybridization; half human, half fish, half fantasy, now half manifest. I made it to erase the modern Disney-lore surrounding the once seductive and sadistic figure of the mermaid, who sings sailors to their grave to feast on them. Within this costume, I'm also interested in the evolution of sea life and it's bizarre shapes and colors. The tail of the mermaid acts as a prototype in a long line of experimentation, where the human imagination meets the scientific dictation of nature.

Gabriel Krug
Various Leftist Political Designs, 2007
Screenprinted T-Shirts and Patches

"Bongs Not Bombs"
"Fight the Patriarchy in Bed"
"Sharing is Caring"
"No Police, Loiterers Take Notice"

Kate Papineau
Sticks & Stones, 2007
Mixed Media Interactive stallation

Modern culture markets paper dolls as "friends" for our little girls. These nearly iconic images comment on the social constructs that condition women in adolescence. Boys learn that it is acceptable to be physical and aggressive, while girls are taught to be nurturing caretakers. They learn to express their anger secretly, with a more covert aggression. Friendship is their weapon.

Jack Schneider
Sir, they want to know if we are going to take any actions. Well what are the numbers? They're high. When will we know more about the situation? Our guys say this is all totally new and are giving us what they know, when they know it. OK. Let's send help. 2007

Screenprinted Signs, Cardboard, Wood, Glue, Tape, and Binding Straps

Tina Ye
Really Empty BoxesTM by ♥★♥, Inc., 2007
Screenprinted Boxes with Glitter, Glass Shelves, and Lights

Graphics and graphic design, artifacts of a commercial culture, are everywhere we look. They jostle for our gaze and pervade our consciousness and dreams. With quiet noise and loud guile, they seduce us, gratify us, take us home and comfort us. They flatter us of our powers of choice and individuality. This work attempts to engage: a reckless indulgence in and doubtful scrutiny of the fantasies and fears brought on by living in a contemporary world, drowned in the visual detritus of commerce and consumption.

Heather Sawyer
Family Reunion, 2007
Screenprint on Fabric

People have a strong love for objects and collecting them, this bond starts at an early age. Depending on the environment a child is brought up in, rather than having a strong relationship with their parents, a child could create a deeper relationship with objects given. The worn look of these stuffed animals shows the age and wear of parenting, yet they are still vibrant and young, the way a child would visualize their loved objects.

Terrance Wong
Power Plant, 2007

“At T. T. Wong Farms and Research®, we are dedicated to bringing the latest in innovative organic technology, from the tools you use to the plants you care for. We are Growth Potential™.

In partnership with Team Screen™ and the Home Depot®, we are proud to display for you our newest innovation in floral cross-breeding: the Power Plant™ (flilmentus generalelectricus, as dubbed by our research team). The Power Plant™ is a hardy vine growth that requires no watering – it practically cares for itself! Power Plants™ seem to have a warm, glowing presence that many find soothing, especially at night. A single bulb yields a single plant, which requires no watering or special environments – perfect for the young or amateur green thumb. Ambitious minds can produce some spectacular results – we have bred no fewer than six different Power Plant™ subspecies in our labs, and we are sure that there are even more to be discovered.

As always, we are proud to deliver a product from a completely self-contained facility. Everything is done in-house, from the printing and folding of the promotional bulb packets available for you to take home today to the recycled paper we printed them on. T. T. Wong Farms and Research® operates 100% green, and our land and facilities are privately owned and operated.

I invite you to take home a packet of Power Plant™ bulbs and brighten up your home today!”

Terrance T. Wong
CEO, T. T. Wong Farms and Research Co.®

Power Plant™, Growth Potential™, and T. T. Wong Farms and Research Co.® are registered trademarks of Terrance T. Wong Holdings, Ltd.

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PRINT: Special Projects Exhibition
Project Space @ SMFA > March 1 - March 13

Students within Jennifer Schmidt's Print: Special Projects course present projects that create a site for intervention, participation, critique and curiousity using printed media and multiples. Be ready to sign up, contribute, and notarize your ideals during the event.

Reception > Tuesday, March 6, 5 - 6:30pm

Project Descriptions

Oliver Wagner
LSS Recruitment Post, 2007

Tired of being such a loser? Good! You've come to the right place. The contents of packages you see before you are about to set you on a collision course with awesomeness! Inside these unassuming envelopes are everything you need to become an official agent of the long-shot society. Just imagine the jealousy and fear you will instill in your friends and family when they find out your a card carrying member of the hottest underground secret society around!

Melinda Go
Color Me, 2007

History venerates. History condemns. History forgets. History has been a harsh judge on women. It has been especially severe on women who lived their lives against social norms. “Color Me” highlights a few of the many women in western history who were vilified for their romantic conquests. They were deemed morally unacceptable and their accomplishments were ignored as a result. History pursues everyone. How will you color these women?

Janine Biunno
YOU ARE HERE, 2007

The urban silhouette is, in itself, an advertisement for and an icon of the city form. Artistic portrayals of the city traditionally glamorize and idealize the skyline, composing a panoramic profile of the side of the landscape that matters the most for formal and representative purposes. The architecture of a city functions, even from a distance, as an identifier for a city’s inhabitants.

The decals created for use in this project illustrate an augmented version of Boston’s skyline, which highlights the most recognized architectural landmarks. The decals have been placed outside the hub of the city, but still within view of the predominant architecture. The decals featured in this project encourage whoever may come across them to locate themselves, physically and metaphorically, in relation to the iconic architecture that defines the city.

Rebecca Bird Grigsby
The Lost Object Project, 2007

When I graduated from college, my grandfather insisted I have a briefcase. His gift was incredibly sweet and thoughtful but I never had much use for a briefcase, especially such a traditional style. I kept the briefcase for a few years, but when I was getting ready to move from California to Boston, the briefcase joined the garage-sized pile of other objects I had to trash, sell, or give away. The briefcase was donated, among many other things, to the Salvation Army, where I hoped it would make its way to someone who would actually have use for it. That was almost two years ago. My grandfather died recently and all I can think about is that briefcase.

By creating a virtual memorial for my lost briefcase and sharing my story, I honor my grandfather's gift and, to some extent, confess my guilt over getting rid of it. As I started to tell people my story, I was struck by their response, which involved, in most cases, immediately sharing with me a similar story about an object that they had lost or misplaced. I'm curious about the irrational affection we often feel towards inanimate objects as well as the narrative and meaning(s) that get attached to these otherwise mundane things over time, qualities that can become heightened in an object's loss/absence. The website will provide a space for people to observe as well as share their stories about and images of their lost objects.

Benjamin Smart
Tags, 2007

In 1917 Marcel Duchamp purchased a urinal, turned it 90 degrees onto its back, and signed it with the name "R. Mutt." He submitted this piece, entitled Fountain, to a supposedly unjuried show being curated by the Society of Independent Artists, of which Duchamp was a board member. Fountain was declared as not being art, and was not put in the show. Immediately afterwards, Duchamp left the organization.

90 years later, Duchamp's commentary on the role of The Academy in art is still as relevant. Endorsements or rejections of an artwork by an institution of art can carry a tremendous amount of weight, and this will probably always be an element of the art world, for better or for worse.

With my project, Fine Art, I have transformed my actions as an artist into those of the art academy itself. I have granted myself the title of Art World Notary, giving myself the power to notarize any object as being Fine Art. I have created about 600 tags to use for appropriating an object and then notarizing it with my Official Stamp of Endorsement.

These tags are an extension of the artist’s signature. Like Duchamp, I have not made any of these objects myself; I have only chosen them and curated them. The location of my own readymades in this series exist basically everywhere. Just how graff writers appropriate the street as their own canvas, I've chosen the contexts I discover my readymades in as their respective exhibition spaces.
While finding readymades myself is an aspect of this project I find fulfilling and interesting, I've also decided to expand upon this idea. For the first time ever, I am opening the office of Art World Notary open to the public. Anyone can bring any object to me, and I will designate it as being fine art. I am keeping a log of information on all the objects I appropriate and endorse.

This project is still practically brand new, and as an experiment, will not come to any clear resolutions for some time still, if at all. I’m hoping, though, that I successfully raise questions about the role of the academy, the endorsement of an academy, and about what makes a work of art or Fine Art.

Rachel De Urioste
The World is a Dangerous Place (so be careful), 2007

Growing up, children hear all kinds of stories about the dangerous things that surround them. Some are about monsters, witches, and other fantastic creatures, but the ones that seem most true are about the ordinary things that can go wrong. They stay with people longer because the worst kind of uneasiness is the type associated with everyday objects and activities. As people get older, the stories change, but that sense of imminent danger never really leaves. With public service announcement fliers as a format, Rachel De Urioste uses these childhood stories as a way to investigate ideas of authority, trust, and fear. The fliers have been posted on bulletin boards around Boston and left with other informational pamphlets for people to take.

Diego Guzmán
Hobby Horse, 2007

Mixed Media Installation and Zine
Zine composed by: Dee and 5003
First edition, more to come.
It is what it is, and what it is not, it will probably be soon.
Keeping it fresh.

Nicole Kita
confettis, 2007

Confetti packages: screenprinted illustrations on heat sealed vinyl.
(each package contains approximately two hand-fulls of store bought confetti)

"A healer typically evokes symbols or metaphors that provide a tangible "language" through which the patient can express, understand, or transform the personal or interpersonal conflicts underlying his or her illness." -Robert Desjarlais, “Body and Emotion: The Aesthetics of Illness and Healing in the Nepal Himalayas”

I am interested in the mimetic qualities, transactional symbols, and the legitimizing practices of ritual or symbolic healing.

Project Description: An exponential volume of confetti packages are located in anonymous, public sites in Boston. Distribution sites facilitate one package, and are monitored so packages will be replaced, as necessary. Iconography on packages is not determined by site, but alternates between personal or shared cultural artifacts believed or identified to be legitimizing or auspicious in the social construction of wellness, fortune, and ritual practices.

My objective is for the package to be taken, and for the confetti to be used. Ideally, the package would be torn open, and poured into one's open hands, and thrown into the air above one's body.

screenprint showcase

jschmidt — Tue, 20 Nov 2007 16:55:54 CST

event photos

jschmidt — Tue, 20 Nov 2007 16:34:59 CST

Special Projects Exhibition S07

Providence Field Trip F06

links

jschmidt — Tue, 31 Oct 2006 00:35:11 CST

lots of free and innovative fonts for download

team screen - Recently Updated Pages

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links

access

links

event calendar

recipes + tips

resources

smfa screen shop

current exhibition

screenprint showcase

event photos