Residencies – aka IDEAs
Zea Mays Printmaking offers Individually Designed Experiences for Artists as our residency program. The IDEAs are uniquely designed to fit an artist’s needs and desires. They can include workshops, personalized instruction, individual studio time in the community studio or individual studio time in the Annex, our private studio. IDEA’s range in duration and are designed by the artist with the assistance of the studio director. In the past we have had artists from Canada and India create IDEAs at Zea Mays. For more information contact Liz Chalfin, Director at liz@zeamaysprintmaking.com
Individualized Instruction
Private sessions with Zea Mays Printmaking core faculty, including help with:
technical skill building
image development
constructive critique
problem solving
A supportive environment where you can develop further as an artist with the full attention of one of our core faculty members, all in the privacy of the Annex at Zea Mays Printmaking. Flexible scheduling – days or evenings.
2-hour sessions (which can be combined into 4 or 6 hour blocks)
$175 per 2 hours for one person Member's price: $100 per 2 hours for one person
$265 per 2 hours for two people Member's price: $150 per 2 hours for two people
Price includes the balance of the day in the studio to work independently.
FACULTY
Annie Bissett, Meredith Broberg, Liz Chalfin, Nancy Diessner, Louise Kohrman, Lynn Peterfreund, Joyce Silverstone
ANNIE BISSETT 
Japanese woodblock
My printmaking practice is focused on the Japanese method of woodblock printing, also called moku hanga. In this technique a block of wood is carved for each color, water-based pigments are brushed onto the block, and the color is transferred to the paper by hand using a baren. Japanese woodblock printing is an elegant and simple form of relief printing that is completely non-toxic and ideal for use in a home studio. It is also easily combined with other printmaking techniques. I will be happy to work with you at any level of experience – our time together will be structured according to your learning style and your needs.
Self-Promotion for Artists
In order to establish and maintain my career as a freelance commercial artist, I've had to learn about and keep up to date with ways of promoting my work, especially online. If you feel you're at a point where you'd like to explore ways of getting your work seen more widely I'm available for individual consultation. Some possible topics we can work on: easy ways of setting up a web site, using social media, finding opportunities for funding or showing, using online sales outlets, or developing a mailing list.
BIO
Annie Bissett started making Japanese style woodblock prints in 2005, building on her 20-year career as a commercial artist/illustrator. She has been part of the core faculty at Zea Mays since 2008 and her prints have been shown at the International Print Center New York, The Robert Blackburn Printmaking Workshop, Boston Printmakers Biennial, and Los Angeles Printmakers Society. She is currently represented by Cullom Gallery in Seattle. For more information and work samples, see http://www.anniebissett.com.
MEREDITH BROBERG
In courses, workshops and one-on-one sessions, my goal is to create the conditions for exploration and discovery. This usually involves working out the material and technical factors beforehand, and providing clear information and inspiring examples. Sometimes it’s also important to include prompts to creativity to help artists bypass the hindrances that can interfere with seeing, thinking and making. Whenever possible, I try to include time for careful looking and talking together about questions like: Have you seen this strength in your work? Have you considered these possible ways to develop this further? New discoveries can be tender seedlings, easily stunted by the demands of everyday life--encouragement and attention can help these possibilities to flourish.
I teach an Artists’ Books course at Hampshire College, which has helped me to develop ways of introducing a variety of structures to artists interested in working with the book form. In addition to training in bookbinding, I have wide-ranging experience in safer intaglio methods, monotype and photopolymer using drawn and painted imagery. I work with both Western and Asian papers, and often combine traditional techniques with plastic plates, which can be easy, versatile and relatively immediate. In my own work right now, I’m curious about the gaps and overlap between observation and representation, between evoking and describing. I’ve been experimenting with ways to combine intentional marks (such as drypoint lines) with organic processes (such as staining paper through capillary action), in hopes of developing images which can express layered realities.
BIO
Meredith Broberg is a mixed-media artist, who works with drawing, printmaking, photography, and book forms. Much of her current work concerns the disappearances caused by habitat loss and climate change. Meredith teaches Artists’ Books at Hampshire College and Printmaking at Springfield College. She has a B.A from Carleton College, and an M.F.A. from the University of California at Berkeley. She has been a Fulbright Scholar in Costa Rica, and received scholarships to the Vermont Studio Center and Anderson Ranch Arts Center. Her work has been exhibited nationally and internationally, including group exhibitions at the International Print Center New York (NY), the DeCordova Museum and Sculpture Park (MA), the Portland Museum of Art (ME), the Florida Craftsman Museum, and the University of the South.
LIZ CHALFIN
My expertise is in the technical aspects of printmaking and problem solving printmaking challenges. I am interested in knowing what it is you want to express and then helping you find the most eloquent means of expression. My own experience as director of Zea Mays Printmaking has enabled me to master many of the intricacies of non-toxic etching, alternative photo printmaking (photopolymer), collagraph and monotype with both water-based and oil-based inks and some relief processes. All of these methods have found their way into my own art making, sometimes by themselves, and sometimes in combination with one another. I especially enjoy the challenge of figuring out how to make things work. It is important to me that the artists I work with understand the "why" behind the "what" so that they can move from playful exploration to intentional image making with confidence and knowledge.
BIO
Liz Chalfin is founder and director of Zea Mays Printmaking. As director, she supervises all of the technical research at the studio, which includes testing the latest developments in non-toxic printmaking products and processes. Liz taught college level printmaking for nine years before establishing Zea Mays Printmaking and continues to demo, lecture and teach at colleges and art centers around the region as well as at Zea Mays. Liz has a B.A. and an M.F.A. in printmaking (California State Universities). Her prints and artists' books have been exhibited nationally and internationally, including group exhibitions at the DeCordova Museum and Sculpture Park (MA), the Portland Museum of Art (ME), The International Print Center New York (NY), The Janet Turner Museum (CA), The Boston Printmakers' Biennial (MA) and Gallery Hasta (India), Museo de Gravura, Alijo, Portugal . Her work is in several private and public collections including the Boston Public Library (MA), the DeCordova Museum and Sculpture Park (MA), the Portland Museum of Art (ME), the Smith College Museum of Art and Library Special Collections(MA), Arkansas State University, Museo de Gravura, Alijo, Portugal and the Southern Graphics Conference Collection (GA), among others. More information and images can be found at www.lizchalfin.com
NANCY DIESSNER
I love photopolymer intaglio and I love teaching, so guiding people through the intricacies and opportunities of photo-based printmaking processes is a joy for me. I’m interested in listening to what you want, or your uncertainties about what you want, and working intently to find what in printmaking excites you and how your work can best be developed and you can flourish. I’m interested in working with individuals who want to focus exclusively on technical/skill development and troubleshooting, as well as with individuals who want feedback on all aspects of their work: the content, the expression, the visual elements, and the process. I’d also enjoy working with people who want an introduction to or just need help with Adobe Photoshop.
BIO
After 17 years of full-time college teaching, Nancy Diessner recently decided to leave academia to dedicate her time to her studio work, to teaching workshops, and to individualized instruction. During her years teaching college, she created two “safer” (low toxic) printmaking studios, one at Chester College of New England (NH) and another at Cedar Crest College (PA). At both institutions she developed a printmaking program and taught beginning intaglio and all levels of photopolymer intaglio and book arts courses, in addition to being an Associate Professor and Chair of Interdisciplinary Arts at Chester College. She has taught workshops at Zea Mays Printmaking and at Liz Shepherd’s studio in Cambridge. Nancy is a member of Bromfield Gallery in Boston, and has a solo show there every two years. She has also shown throughout the country and abroad, including exhibitions at Gallery One in Ann Arbor, MI, Boston Public Library Allston branch, Fitchburg Art Museum (MA), Allentown Art Museum (PA), and Manhattan Graphics (NY). Nancy received her MFA in painting and sculpture from Hunter College in New York City, her BA in painting, printmaking, and drawing from Bennington College (VT), and also studied printmaking at St. Martins College of Art in London. In the years following graduate study she studied at the Center for Book Arts in New York City, and received artist residency fellowships at the Women’s Studio Workshop (NY), the Millay Colony for the Arts (NY), and Ox-Bow (MI). Her work is in many collections including Vassar College, Wellesley College, Yale University, Smith College, Skillman Library at Lafayette College, and private collections. She has been a member of the Experimental Etching Studio outside of Boston and the Boston Book Arts group, and is a current member of Boston Printmakers and Southern Graphics Council.
To see images of her work and get more information, visit her website at www.ndiessner.com
LOUISE KOHRMAN
I have worked extensively in various printmaking techniques and have been teaching printmaking and related techniques for many years. While my own studio practice focuses on drawing and etching, I am available for instruction in most printmaking techniques, image development and artistic critique. My specialization is in intaglio and I have much experience with printing on thin, delicate papers and chine colle, including various mounting and collage techniques.
I believe that my role as teacher is one of facilitator. I therefore like to foster divergent thinking on the part of my students while educating them in traditional and innovative techniques, histories and concepts. I encourage self-criticism and gently push students further through experimentation to find their own voice and self-confidence in the medium. I feel that the development of one’s creative voice goes hand in hand with the development of technical skills.
I cater to varied learning styles and teach through interdisciplinary learning, embracing audio, visual, and hands-on approaches through demonstration, experimentation, discussion, and critique. I shape the lessons to the needs of the students and pride myself in offering a supportive learning environment, an open dialogue and patient teaching style. I view the teacher/student relationship as a collaborative relationship, and value the lessons I learn in the process.
BIO
Louise Kohrman is an artist and printmaker. She was born in Copenhagen, Denmark and currently lives and works in western Massachusetts. She received an MFA in Printmaking from The Rhode Island School of Design, a collegiate teaching certificate from Brown University, a BA in studio art at Smith College and has completed a printmaking and book arts program in Italy through the University of Georgia. Louise worked as a printer at Wingate Studio in New Hampshire, working with artists such as Walton Ford, Aaron Noble, Benny Andrews, and printing the work of Louise Bourgeois, among others. She has taught various printmaking techniques, classes and workshops at the Rhode Island School of Design (RI), The Center for Contemporary Printmaking (CT), The Printed Page (RI), and Zea Mays Printmaking (MA). Her work has been exhibited nationally and internationally, including group exhibitions at the DeCordova Museum and Sculpture Park (MA), the Portland Museum (ME), the New Bedford Art Museum (MA), The Lancaster Art Museum (PA), The RISD Art Museum (RI), The International Print Center New York (NY), the Copley Society of Art in Boston, (MA), and Gallery Hasta (India). Her work is in several corporate, private, and public collections including the Amity Art Foundation (CT), the Boston Public Library (MA), the DeCordova Museum and Sculpture Park (MA), the Regional Center for Women in the Arts (PA), Rutgers Center for Innovative Print and Paper (NJ), the Smith College Museum of Art (MA), and the Southern Graphics Conference Collection (GA), among others.
More info and examples of Louise’s work can be found at http://www.louisekohrman.com/
LYNN PETERFREUND
My strengths as a teacher: I love language, I am trained to see well and I thoroughly enjoy working with people. The idea that I’ve been teaching art for almost forty years startles me but it adds up to a level of experience and comfort I have and offer students. The breadth of my own work in printmaking and painting in both abstract and representational modes, gives me the range to help students see possibilities for developing what they are trying to express in a variety of ways. Color, formal description, composition, expression are the things I stress in all the classes I teach whether it is drawing, painting or printmaking. Monotype printmaking in combination with intaglio (drypoint, photo polymer, etching, aquatint, spit bite), relief work and mixed media, has been the focus of my own work for the last decade. In addition to the technical skills of monotype printing with oil based inks and basic intaglio techniques, I can offer a student ideas for critiquing their work, developing series and ideas, breaking habits. I think of doing and teaching art as a practice and offer a students strategies for finding for themselves.
BIO
I have used the inspiration of the many teachers I’ve studied with in both universities and art schools (BA University of Michigan, MFA Pratt Institute with years at Ontario College of Art, Parsons, School of Visual Art) as the basis for my own teaching style. I have worked in many areas of art, first as a printmaker and then as a muralist, painter, and printmaker again. I’ve taught at Hunter College in NY (television production!), Smith College, GCC, University of Massachusetts, the Guild Art School, SACI in Florence, Italy and privately in both my Amherst and Florence studios. My mural work can be seen in many locations in Massachusetts and my paintings are in hundreds of private and public collections, notably the Boston Library, Portland Museum of Art, the DeCordova Museum, Smith College, University of Massachusetts.
JOYCE SILVERSTONE
After teaching monotype methods and drawing for 20 years, I have grown ever interested in the moments of discovery that come out of the process of making a print. Exploring new and various ways of creating a monotype, encourages artists to develop related series of images and ideas into visual poems. These explorations can begin to raise questions about content and mark making and form the basis for an artistic dialogue, and students can feel confident developing their personal imagery. I enjoy introducing students to simple to learn, but powerful to use techniques that form a foundation for developing painterly prints.
My background as a painter, and my interest in drawing methods, form the core of what I offer: color theory and color mixing, viscosity printing, monotype off the press, layering and combining monotype with woodcut, collagraph, and drypoint plates, and transfer drawing methods. I especially like sharing these techniques and seeing how they can help artists “break through a barrier” or come into a new relationship with their work. Additionally, my experience as a teacher and practitioner of Rosen Method Bodywork, calls on me to practice awareness, attention and presence. I bring this aspect of my experience to my art making and art teaching, to create a supportive place to learn.
BIO
Joyce Silverstone is an artist, printmaker and teacher of body awareness and relaxation practices. She is a graduate of the Boston Museum School, a Traveling Scholarship Recipient, and awarded Massachusetts Arts Council Grants in Painting and in Video Performance. Joyce’s paintings and prints have been exhibited at the Bess Cutler Gallery, NYC, MIT and Boston University Galleries, Boston, Institute of Contemporary Art, Boston, Stavaridis Gallery, Boston, Decordova Museum, Lincoln, MA, A3 Gallery, Amherst, MA, Hart Gallery, Northampton, MA, and Zea Mays Printmaking Gallery, Florence, MA. Her work is in many corporate, university and private collections. Currently, Joyce is on the teaching staff of the Rosen Method Open Center, and core faculty at Zea Mays Printmaking.