Past Exhibits

Social Justice

Social Justice

Opening Reception Fri, Sep. 2, 5-8pm
Sep. 2 - Sep. 28

This exhibition is a reflection and a statement about current social justice issues and events on a local, national, and international level. The topics of social justice are vast: racism, classicism, sexuality, poverty, etc. Submitted work may be any technique of printmaking: narrative, abstraction, figurative, and conceptual. This art serves to educate and sensitize the viewer to various issues while conveying an underlying philosophy to the commitment to social justice, humanism, and collective responsibility. Expressions of strength, pain, humor, as well as defiance used by the artist reflect not only their diverse personal views and opinions, but also are used to facilitate awareness and promote dialogue.  Daumier, Kathe Kollwitz, Goya, Sue Coe, ASARO, The Beehive Collective, John Hitchcock, and Eric Avery serve as good examples of artists whose work continues in the long tradition of social justice advocacy. We encourage submissions using all forms of printmaking techniques.

Juror Dusty Herbig
First, I would like to thank the committee at the Ink Shop, for inviting me to select work for this exhibition. Social Justice is a particularly poignant subject for the title of a national exhibition in today’s complicated sociopolitical climate. Given the constant tide of fresh and recurring subject matter for activist artists to explore, the opportunity to select work for this exhibition should be a diagrammatic experience of current issues.

During a recent lecture by a prominent social activist, I was empowered, hearing references and explanations to the term stability, and instability on numerous occasions. This terminology describing subtle interpretation of foreign policy, and its definitions, resonated with me and will certainly find its way into future creative research and academic expectations.

This recent experience and my invitation to jury this exhibition were serendipitous and rejuvenated the rigor in my activist/artistic practice.  With fresh perspective about what sociopolitical priorities might be, I look forward to seeing what the artists of 2011 have to say about our world, both good and bad.

Dusty Herbig is an Assistant Professor of Art, and the Director of Lake Effect Editions at Syracuse University, where he teaches lithography, intaglio, serigraphy, relief, digital printmaking, letterpress, and all levels of advanced and graduate print courses. Herbig earned an MFA from the University of Wisconsin-Madison in 2002, and his BFA from Fort Hays State University, in Hays, KS in 1996.

Herbig exhibits nationally, participating in juried exhibitions from Los Angeles to Miami to New York City, and internationally, including shows in Canada, Spain, Taiwan, Brazil, Germany, South Korea, Scotland, Pakistan, China, Argentina, Japan, and Poland. His socially provocative work is in the permanent collections of many institutions, including: The Minneapolis Institute of the Arts, KUMU: The Art Museum of Estonia, Spencer Museum of Art in Lawrence, KS, The Hunterdon Museum of Art, Hunterdon, NJ The Kala Art Institute in Berkeley, CA, Robert Blackburn Printmaking Workshop, NYC, among others. He currently lives and works in Syracuse, NY.                  View Herbig’s work.










Ink Shop Members Exhibition

Opening Reception Fri, July 1, 5-8pm
July 1 - August 26

Ink Shop Annual Members' Exhibition  2011

Pamela Drix - Sunlit Green Orchid StudyThe Ink Shop Printmaking Center's Annual Members' Exhibit features Ink Shop artists exploring many varied printmaking techniques. The Ink Shop has developed a solid reputation for providing professionally curated exhibitions. We have shown artists/printmakers from all over the world and been invited to show our work nationally and internationally, as far away as Japan.  Our popular classes, taught by members, include intaglio, etching, lithography, bookbinding, wood cut and screen printing. Come July and August and explore our exhibit of over twenty member artists.


Karen Klee-Atlin - The JuntaClarissa Plank - Japanese Beetles

See review of Member Show
by Arthur Whitman

Christa Wolf: Memory

Christa Wolf Monotype detail

Cristina de los Santos & Masha Ryskin: Cuts, Fragments & Collages

Masha Ryskin Igloo

Masha Ryskin is a Russian born artist currently based in Rochester, NY and Providence, RI. She received a classical art education in Moscow, Russia, followed by a BFA from Rhode Island School of Design and an MFA from the University of Michigan.

She uses a variety of media, including drawing and painting, printmaking, installation, and fibers. Her work is concerned with landscape and its elements as a metaphor for memory, history, and passage of time.

Masha's work has been exhibited nationally and internationally. She has participated in a number of artist residencies, both in the United States and abroad. She is a recipient of many grants and fellowships, including a Fulbright grant to Norway.

"A sense of place and belonging is increasingly important to me, especially since my immigration from the Soviet Union. As a result, my work explores landscape and its elements through direct experience of the environment around me. I take bits and pieces of my surroundings and assemble them into imaginary environments.  The work investigates the concepts of history, personal memories and everyday rituals, as well as identity and assimilation.

I am interested in the human interaction with nature evidenced by the traces of our presence left in the landscape. My work directs attention to footprints, stains, and other overlooked elements that speak of the temporal quality of the human experience. The mundane materials, such as tea bags, recycled fabric, tea and coffee, serve as records of our daily activities and gatherings, while the fragmented quality of the work alludes to the constant shifts that occur in memory and history."


Cristina de los Santos Quick Sand

With each piece I intend to push drawing to its limits.  Paper is used as a substrate because it is adaptable to varying techniques and I can be generous with scale.  I create disruption and order with my drawings.  A little disorder is always left behind ending with off-kilter or twisted compositions.


It is my hope that the viewer is able to recognize an outside force imposing itself on the drawing, like a strong wind, or a rush of water through the combination of marks and forms.  Sometimes, I physically tear apart the drawing to add a more tangible destructive layer.  The drawings are meant to operate autonomously, yet seen together, they create an effect of a throbbing cadence as forms seem to quiver off the walls and paper.

To see a review of the exhibit Tompkins Weekly vol. 5, May 16 - 22, 2011, p. 8 go to May

16 -22, 2011 issue, Volume 5, no. 29.

Combat Paper Project

Combat Paper Project

March 4 - April 29

Opening Reception - Friday, March 4  5-8 PM

Artist Talk/Performance: March 19th, 6-8 PM

Community School of Music and Arts


The Combat Paper Project uses art-making workshops to assist veterans in reconciling and sharing their personal experiences as well as broadening the traditional narrative surrounding service and the military culture.


Through papermaking workshops veterans use their uniforms worn in combat to create cathartic works of art. The uniforms are cut up, beaten into a pulp and formed into sheets of paper. Veterans use the transformative process of papermaking to reclaim their uniform as art and begin to embrace their experiences in the military.


Combat papermakers use ongoing participation in the papermaking process to progress from creating works specific to their military experiences to expressing a broader vision on militarism and society. The work reflects both the anger of the past and hope for the future. This collaboration between civilians and veterans generates a much-needed conversation regarding our responsibilities to the returned veteran and an understanding of the dehumanizing effects of warfare.


A Combat Paper studio is located in Trumansburg, NY where veterans from Iraq and Afghanistan created the work in this show. Stenciling, screen-printing, typing and various other forms of mark making were used to create the imagery on the paper.  For more information please go to:


David Rosenthal

David B. Rosenthal


was a Cincinnati artist who was known as an American Impressionist. In the artistic lineage of John Henry Twachtman, Lewis Meakin, and Frank Duveneck, his prints and paintings are valuable elements of Cincinnati’s distinguished art history. His work has been praised by leading art experts throughout the country.

David was the only artist among eleven children of Franciska Baum and Samuel Rosenthal, owners of the highly regarded Cincinnati printing company S. Rosenthal. He studied painting and lithography at the Art Academy in Cincinnati with Frank Duveneck, Lewis Meakin, Joseph Henry Sharp, Vincent Nowotny, and others. From 1899–1905 he studied painting in Florence, Rome, Venice, Paris, Munich, Berlin, and Dresden. After winning a scholarship in Munich, he exhibited at the Kuenstler Verein. He went on to win a scholarship at the Belle Arti in Rome, become a member of the Circlo Internationale, and attend the Accademia of Milan.
When he returned home in 1905 he opened a successful studio where he was in demand as a portrait painter and painting teacher. He was close friends with E.T. Hurley, H.H. Wessel, and many other artists in the Cincinnati Art Club. A 1905 Cincinnati newspaper article with a photograph of him painting in his studio features his popularity with the elite of Cincinnati and Chicago.

He also sketched and painted landscapes in Miami, Cape Ann, Michigan, and Cincinnati. After this period, he concentrated primarily on etchings and demonstrated a remarkable skill for mezzotints and aquatints. In 1939 he shared his studio with another Cincinnati artist from that period—Max Pollak, a friend from his Munich days. His work spanned a wide range of subjects, from portraits of historical figures, to intricate landscapes (including many Cincinnati scenes), to social commentaries of the time. His forte was capturing the essential spirit of the subjects he painted or etched.
Rosenthal exhibited at the Chicago Art Institute, The Cincinnati Art Museum, the Pittsburgh Art Museum, the Cincinnati Art Club, the Closson Gallery, and many shows in Miami, Atlantic City, and throughout Europe. His etchings are still in the collection at the New York Public Library and the Skirball Museum in Los Angeles.

When his wife Ethel Brumberg Rosenthal died in 1970, many of his paintings had to be discarded due to improper storage. The etchings and paintings in good condition were distributed to his two daughters Frances Rosenthal Rocklin and watercolor and graphic artist Nancy Rosenthal Opperman. The surviving grandchildren have compiled this initial exhibit to re-establish David Rosenthal’s prominence as a Cincinnati artist and show his place in the Cincinnati art historical tradition. They are grateful to Phyllis Weston and Richard Rosenthal for their ongoing interest and encouragement to bring their grandfather’s work to the contemporary public.


Grant Silverstein

Grant Silverstein- Devil and Sleep

Grant Silverstein

Born in 1953, Grant Silverstein is a self-taught artist presently living in Pennsylvania. His specialization is in the media of intaglio etchings, and he has developed a reputation as a figurative printmaker.

He has been etching since 1980 and has exhibited widely in North America. His etching style is realistic and influenced by mythology and common daily events and dreams.

Decadia | Exchange Portfolio

Opening Reception Friday November 5, 5-8 PM

The Ink Shop is celebrating its first decade.  The Decadia Portfolio exchange reflects both a celebration of our first ten years, as well as a utopian destination, now and into the future. Our "arcadia" is a place that continues to nurture artists and artmaking; where artists and the public interact and grow in symbiotic ways, and where printmaking and the art of the book are highlighted and celebrated.

Decadia contains 18 prints by 18 Ink Shop artists who interpreted this theme each in their way, some literally, some more broadly.  It is a tribute to their talent, enthusiasm, and determination that these artists have mastered the craft and art of the print.  Their work shows the ongoing exploration of the traditional methods of printmaking, as well as an incorporation of new approaches, which include digital media, social and political themes, and more formal explorations in abstraction. These artists bring new life and excitement to the field of contemporary printmaking with a portfolio that keeps the art form printmaking relevant to our modern cultural discourse.

Participating artists:

Judy Barringer, Brandy Boden, Pamela Drix, Kathy Friedrich,  Rebecca Godin, Liz Grantham, Kumi Korf, Pat Hunsinger, Craig Mains, Tim Merrick, Jim Mullen,  Margaret Myers, Greg Page, Jenny Pope, Kadie Salfi, Jae Sullivan, Caleb R. Thomas, Christa Wolf.

Kadie Salfi Apex-Predator | Body Parts

Kadie Salfi - Bald Eagle

September 3 - October 29 | Opening Reception Friday, September 3, 5-8pm

Humans are the world’s leading apex predators. But instead of maintaining the health of ecosystems as other apex predators do, humans are destroying the world’s natural balance by killing millions of animals every year at a rate that is unsustainable and irreversible. More than 100million sharks are killed annually for their fins. Rhinoceros are killed for their horns, eagles are killed for feathers, wings and talons, and on and on. The illegal wildlife trade is the third largest illegal trade in the world, at $20 billion a year trailing only narcotics and arms. The trade generates a vicious cycle: the illegal killings make the animals rarer, so they become more valuable, stimulating more killings.

In the same way that we are consuming our virgin forests and depleting our freshwater supplies, we are destroying entire populations of animals without considering the local and global effects. It is one thing to kill an animal for food and clothing in a humane and sustainable way, using the whole animal, but it is quite another— a form of animal genocide— to mutilate animals for specific body parts, often leaving them to waste painfully and die.

When will we realize that what we are doing is not sustainable and will affect the health of the planet, which in turn threatens us?

 To view a PDF of the complete catalog for the exhibit CLICK HERE.

Kadie Salfi has been the 2009/10 Peter Kahn Family Fellow. Sales from Kadie Salfi's art will support the fellowship, and also 5% of all sales proceeds will be donated to WildAid, and organization whose mission is to "end the illegal wildlife trade within our lifetimes"


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