Closed to the public
MSS is closed until July 1, 2020.
Digital printing services and our Webstore are currently operating. Read Martha Street Studio's response to COVID-19:
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"Or we could stay home"
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Design by Michael Dumontier and Neil Farber, and woodblock-printed in-house by our skilled technicians.
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Due July 15
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“Unparalleled, accessible facilities and education in the print arts”
Martha Street Studio response to COVID-19
April 23, 2020 update: Hello members, artists, and supporters of Martha Street Studio, The board and staff have made the difficult but prudent decision to suspend all in-person activities until July 1st. Unfortunately, this means all of our current courses and workshops will be cancelled, the physical gallery and shop will remain closed to the public, public, and the studio will not be open to individual artists. Staff will be in contact with anyone who requires a refund in the coming days. In the interim we will continue to operate to the best of our abilities. We have begun featuring member artists’ work on our social media platforms and can deliver any works purchased within the city. We have also added a number of items to our webstore that can also be delivered within the city (or mailed further afield). Michael Dumontier and Neil Farber graciously allowed us to re-use their timely and eerily prescient design from our BYOT fundraiser as well; orders for shirts can be placed until May 30th, check out the design here. Over the coming weeks we will begin cautiously re-offering digital printing services to artists. Although the suite itself will remain closed, files can be submitted digitally to our technicians and orders for printing can be arranged via email. This will be a slower process than normal, involving more communication through email and delivery time, but we are confident that your patience will be rewarded by our outstanding service. Additional technical services for traditional print-media will also be made available on a case-by-case basis as our capacity and access to the space increases. Exhibitions, artists talks and residencies will all be postponed with the expectation that normal programming will recommence on a shifted timeline as soon as it is safe to do so. We remain committed
Trace elements // Kelsey Stephenson
Exhibition Dates:Thursday February 20 – Friday March 20, 2020 Opening Reception: Thursday February 20, 5-8 pmArtist will be in attendance Artist Talk: Saturday February 22, 2pmASL interpretation available by request. Requests must be submitted by 5pm on February 19 by emailing firstname.lastname@example.org or calling 204-779-6253. These events are free to attend and open to the public. Trace elements includes a series of small edition and monoprint works developed over the last two years, using eight larger format etching plates as the basis for imagery and printing. While some works have been printed and editioned, many utilize the traces left by ghost prints and a spontaneous approach to combining prints and plates together to create new works as monoprints. The installation divining in this exhibitionuses both audio and visuals to create a sense of place within the gallery. “Alberta,” by Alex Gray, plays on a loop in the background, allowing both visual and sound to draw viewers in. As our bodies enter the landscape of the gallery, the fragile paper is disturbed, making it move and rustle. Combined, the individual etchings making up divining present as a single piece as though seeing an aerial view of landscape, observing impressions left behind by thousands of years, or a short period of flood of erosion from water. Kelsey Stephenson is an Edmonton based artist working with ideas of place-based memory and identity, and the changes imposed on landscape through human agency, intentionally or not. She works primarily with printmaking and print based installation in her practise. Kelsey’s work has been shown in solo exhibitions across western Canada and in the USA, as well as nationally and internationally within juried group exhibitions. Recent group exhibitions include the 37th Bradley International, at Bradley University in Illinois (USA), the 2nd International Print Biennial Łódz 2018, in Łódz (Poland), and the 2018 Okanagan Print Triennial, in Kelowna, BC. Kelsey currently teaches at the
Martha Street Studio Seeks Executive Director
Deadline to apply, January 20th, 2020. JOB POSTING: FULL-TIME EXECUTIVE DIRECTORApplication Deadline: January 20th, 2020To apply, submit CV and cover letter to email@example.com ORGANIZATION PROFILE Martha Street Studio (Manitoba Printmakers Association Inc.) is a not-for-profit charitable organization and Manitoba’s only printmaking artist-run centre, studio and gallery. It is currently in its 31st year of incorporation, and its 19th year at 11 Martha Street. It has 2,000 square feet of studio space and a custom printing area. Another 2,000 square feet houses additional studio space, the gallery, project spaces, archives, promotions area, The Print Shop, digital suite and administrative offices. Martha Street Studio (MSS) supports innovation in national and international print-based art. To do this, MSS works with other unique organizations towards a common goal of enriching the lives of Manitobans through the production and dissemination of the art of printmaking. MSS is artist driven and inclusive of diverse skill levels, it supports hobbyists, professional artists and everyone in between. MSS programming and facility are fully wheelchair accessible and ASL services are available upon request. There are options for low income artists through volunteerism. MSS is a member of the Manitoba Artist Run Centres Coalition. POSITIONThe Executive Director is part of a dynamic team and takes overall responsibility for all aspects of management and direction of Martha Street Studio’s gallery, services and programs, and for the implementation of organizational strategic planning and development initiatives. These initiatives include policy and procedure development and implementation; human resources and financial management; project design and development; capital projects, as well as marketing and fundraising. The Executive Director takes direct responsibility for: All public sector grants (municipal, provincial, federal) including identification, application, and reporting; all private sector donations and grants from foundations and corporations including identification, application, and reporting; all earned revenues – from courses, workshops, consignment sales, Studio Editions, digital
What’s on next: Traversing the line, with no fixed point // Briana Palmer
Exhibition Dates:Thursday January 9th – Friday February 7th, 2020 Opening Reception: Thursday January 9th, 5-8 pmArtist will be in attendance Artist Talk: Saturday January 11th, 2pmASL interpretation available by request. Requests must be submitted by 5pm on January 8th by emailing firstname.lastname@example.org or calling 204-779-6253. These events are free to attend and open to the public. Traversing the line, with no fixed point uses various printmaking methods and mixed media to question the use and position of the railway system in national memory and history. It can be a reminder of one’s heritage, while for others it is a symbol of slavery, genocide, and colonization. In this exhibition the artist creates a fictional world with objects in constant flux of meaning and interpretation. Briana Palmer lives in Hamilton Ontario, and teaches in the studio arts program at McMaster University. Originally from the West Coast, Briana received her BFA from the Alberta Collage of Art and Design and MFA from the University of Alberta. Her primary practice is in printmaking, sculpture and installation; creating works that reflect an intersection between perception, experience, and social ideologies taken from her own cultural practices, up-bringing and daily experiences. Using unusual combinations of media and materials, she arranges enchanted worlds where the objects and images are transported from their original source, relocating their history, and becoming poised between the uncertainly of what we know and understand, and what must be reconsidered. Palmer’s works have been exhibited in Canada, U.S and Europe. Her prints are in the collections of the Alberta Foundation for the Arts, Southern Graphics Council International, and the University of Alberta.
Winter Printer Carnival
Please join us for the Winter Printer Carnival on Friday December 13, from 6-10 pm. Save the date! (*Please note the time change*) The Winter Printer Carnival is free to attend, and will have carnival themed snacks to enjoy while playing printmaking themed Parlour Games (for a small fee). The 2019 INKubator Showcase and Trio: Print Exchange Showcase (featuring work by students from the University of Manitoba, Brandon University and graduates of the INKubator program) will be on view in the gallery. Additionally, toward the end of the night we will draw the winners for our Studio Editions Raffle and Winter Printer Prize Basket. Please note, the winner for the Winter Printer Prize Basket must be present to claim their prize. We will also accept donations of materials on behalf of the North Point Douglas Women’s Centre. Please note we will be closed to the public during our office hours on Friday December 13, 10am – 5pm. Thank you to the Exchange District BIZ for sponsoring the Winter Printer Carnival! Schedule: Gallery opens: 6 pmParlour Games: 7-10 pmStudio Editions Raffle draw: 9:00 pmWinter Printer Prize Basket draw: 9:45 pm Printmaking Parlour Games: Buy tickets for a small fee and play any of the following: “Squeegenius” a screen printing bingo game, “Ace the Case Race” a race using letterpress type, and “Print n’ Putt” a minigolf print experience. Get your own “Monoportrait” done by Kelly Campbell, make a card with Ann Rallison, or BYOT-shirt (bring your own t-shirt) and print a one-of-a-kind design by Michael Dumontier and Neil Farber (Cost for BYOT-shirt printing is $20. A limited supply of t-shirts will be available at Martha Street Studio for an additional $10). All funds raised will go to Martha Street Studio’s programming and operating costs. Studio Editions Raffle: To purchase a raffle ticket in support of Martha Street Studio stop by the office, call us
Studio Editions Raffle
Studio Editions Raffle tickets are on sale now! To purchase a ticket in support of Martha Street Studio stop by the office, call us at 204-779-6253 or see one of our Board Members. Tickets are only $20, and there is a 1 in 200 chance of winning a limited edition print valued over $1,200! Win a prize of 1 of the following 3 Studio Editions: Limited Edition Screen Print – All Numbers Are Equal (Four Ways), edition 17/20, by Micah Lexier (valued at $2,000) Limited Edition Intaglio Print – Beaming, edition 9/10 by Mélanie Rocan (valued at $1,200) Limited Edition Digital Print – Parquet Floor Variations, Prypiat, Ukraine, edition 2/15 by David McMillan (valued at $2,000) The draw will occur Friday December 13, 2019, 9pm during our Winter Printer Carnival. The Winter Printer Carnival will also feature fun, hands-on printmaking activities open to all skill levels, as well as opening receptions for the INKubator Showcase and Trio. Save the date! License: LGCA 6164-RF-31894 valid between May 21 and December 13, 2019Final Draw Friday, December 13th, 2019 at 9:00pm
The In-Betweens // Alison James
Exhibition Dates:Friday November 1 – Thursday December 5, 2019 Opening Reception: Friday November 1st, 5-8 pmArtist will be in attendance Artist Talk: Saturday November 16, 2pmASL interpretation available by request. Requests must be submitted by 5pm on November 13th by emailing email@example.com or calling 204-779-6253. These events are free to attend and open to the public. Episodic memories lay the foundation of evolving human identities. A key aspect of long-term memory, they are a collection of personal experiences that occur in a specific time and setting and contain the emotional and contextual knowledge of each event. Their vital role in personal identity drives Alison James to ask: why are some experiences encoded, consolidated, and recalled successfully while others are not? What distinct characteristics do they share? What is derived from them? The In-Betweens addresses these questions through a series of looping, stop-motion animations of James’ episodic memories. Constructed from screen printed papercut figures and sets, the animations highlight the emotions of each memory portrayed. Unnerving movements of vivid screen printed papercuts draw viewers into quiet scenes fraught with emotion. The techniques used reflect the reconstructive nature of remembering. The process of screen printing is reconstructive; involving the construction of an image, its deconstruction to create positives and the subsequent reconstruction of layers when printing. Assembling of the papercuts reaffirms this notion. Continuous looping of the animations evokes the memories’ repeated recollection over time. Alison James is a multidisciplinary artist based in Winnipeg, Manitoba. In her research-based practice, she utilizes the technical processes of printmaking and animation to investigate the reconstructive nature of autobiographical memory and personal identity. Alison holds a BFA Honours degree from the University of Manitoba and has exhibited her work nationally and internationally. Past exhibitions and screenings include I Had a Feeling, Atelier Presse Papier, Trois-Rivières, QC (2016), Gimli Film Festival, Gimli, MB (2015),
Obscura // Angela Snieder
Exhibition Dates: Friday September 6th – Friday October 18th, 2019 Opening Reception: Friday September 6th, 5-8 pm Artist Talk: Saturday September 7th, 2pm Martha Street Studio is pleased to present Obscura, a solo exhibition of work by Angela Snieder (ON). Obscura will be on display at Martha Street Studio from Friday September 6th to Friday October 18th. An opening reception will be held on September 6th from 5-8 pm with the artist in attendance. Snieder will present an artist talk on Saturday September 6th at 2pm. Obscura engages with questions of truth and artifice related to experience, perception, and lens-based processes. Through various photographic forms, including photopolymer prints, large-scale pasted prints and moving analog projections, the works in the exhibition aim to prompt a negotiation of reality and its representations that calls into question the truthfulness of photography. The role of illusion is central to the printed and projected scenes. Photographic textures and surfaces offer a sense of familiarity, recalling physical spaces such as mineshafts, caves, undergrowth or mountains, but incongruities in scale and subject matter unsettle the scenes and allude to their artifice. What is happening in the shifting moment when the eye catches on to the trick; and how does the knowledge of this conspiracy alter the experience of the image? The feeling of certainty comes in and out of focus as tall grass undulates or an illuminated fog floats in a snow-filled room. The newest work, Field (2019), is a moving analog projection created with two camera obscura devices. Whereas historically the camera obscura projected an image of the external world (reversed and inverted), the devices in the exhibition reveal fabricated physical spaces, projected through apertures onto the walls of a darkened room. Artist Statement How can we think about the relationship between physical and psychological spaces? My creative practice explores the possibility
Written Response: Not yet Earth: The work of Madeline MacKay
Not Yet Earth: The work of Madeline MacKay By Kelly Campbell, 2018 While I live, my body is flesh. When I die, it will be meat. My consciousness will cease to exist, but my corpse will persist. It will be buried in a box in the ground. The chemical bonds that hold the organic materials of my meat together will be broken down, their energy released and repurposed to suit the needs of whatever living thing consumes my remains. Just as I digested the meat of countless plants and animals to fuel my earthly vessel while I was alive, my carcass will pass through and become part of thousands of bugs, bacteria, and plants, until it is unrecognizable as what it once was. It will become part of the environment; traces of me will be spread throughout the soil, the air, the grass. I will no longer be a single entity, but a small piece of everything. I will be the earth, and the earth will be me. While poetically compelling, the process of rot and decomposition is often viscerally disgusting in practice. A dead body is sad. A decomposing body is repulsive. Why? Troubling the line between what is self and what is not in the context of the body creates disgust. For example: on your head, your hair is beautiful, luscious, and thick. You toss it from side to side as though you are in a shampoo commercial. Enjoy this moment, puny human, for several weeks later, balled up in the drain, removed from and perversed of its original context, it is revolting. That you used to find it so appealing makes its present state all the more vile. Look at what it has become! Look at what you have become. I am watching a video. A thin person with long
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