Past Exhibits

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"


Through the Screen

Screen Prints by Bill Davison, Steve Poleskie, Minna Resnick, Kadie Salfi, Christa Wolf

September 3 - September 24 |  Opening Reception Friday Sept. 3., 5-8 PM

Screen printing is currently regarded as one of the newest forms of printmaking, but it evolved out of the oldest known techniques of stenciling. These methods of stenciling were developed in China and Japan between 500 and 1000 A.D. The Japanese used fine silk threads and strands of human hair to hold floating stencils in place. The whole stencil was then varnished and flattened, which formed something not unlike the modern screen. Artists then applied color to open areas using a stiff brush, creating continuous patterns of almost unlimited complexity. These patterns were used to create fine art forms such as stencil pictures, screens, and fabrics. The medium was developed in the west using framed screens and squegees to press the ink throiugh. It became the medium for all kinds of professional printing and is often used to decorate T shirts.

In the 1960s, screen printing proved an ideal medium for the aesthetic movement of the time. In his 1967 article,"Silkscreen Printing"  in Artists Proof, the Annual of Prints and Printmaking"  Steve Poleskie, founder of the Chiron Press, called screenprinting "the medium of now," saying that "...the new artists attracted to this field, naive about what can or cannot be done, about what is or is not a print, have completely revolutionized the graphic arts."  At Chiron Press Poleskie worked with most of the well-known artists of that time such as Robert Rauschenberg, Claus Oldenburg,  Larry Rivers, Roy Lichtenstein, Alex Katz, James Rosenquist, and Andy Warhol.  A professor emeritus at Cornell, Poleskie's work is in the collections of numerous museums including the Metropolitan Museum and the Museum of Modern Art in New York.

Other artists showcased include Bill Davison, who taught screen printing and etching at the University of Vermont for thirty-five years and produced his own screen prints until 2000, when he switched to making water based monotypes. Kadie Salfi, his daughter, also works primarily in screen printing, often with sculptural material. Kadie was awarded the Peter Kahn Family Fellowship in 2009/10 and has a solo show at the Ink Shop Gallery. Minna Resnick is well known nationally and internationally for her work that centers on womens' themes. She often combines screen printing with lithography. Christa Wolf’s pieces deal with the layering of memory. She studied screen printing with Steve Poleskie at Cornell and is a co-founder of the Ink Shop


Peter Kahn Fellows: 2000-2010

July 2 - August 24 | Gallery Night Reception: Friday, July 2, 5-8pm

This exhibit celebrates ten years of printmaking and books from the Peter Kahn Family Fellowship recipients. Artists Samantha Couture, Jennifer Savran, Jae Sullivan, Ella Sadza-Loinaz, Jenny Pope, Caleb R. Thomas, Jamie Ellen Davis, and Kadie Salfi are showcased.

The Kahn Family Fellowship is a key element in our programming, furthering the legacy of Peter Kahn’s life and art, drawing together artists and writers in collaborative projects of the kind that were so important to him. In memory of our colleague, this fellowship is designed to offer opportunities to artists seeking further experience and professional development in printmaking and book arts

Affiliated with
Scout Dunbar Studio

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