In 1989 Sheila Goloborotko, a São Paulo-born artist who lives in New York City, had the idea to transform her own personal working studio into a community place for printmakers (not just established, but aspiring, mind you) to join her—and it was a good one. Well, a flocking to the presses and work tables ensued. People of all races and creeds and levels of experience have worked—and repeatedly worked—with Sheila, making things they didn’t expect to make, finding expression in graphic depictions they didn’t think possible, and generally creating a community of artists where before there were only individuals at easels, so to speak, rather than collectives, toiling at presses, making prints.
Maybe you don’t think of paper as having the power to be a time capsule, but that’s what this is. “This is what printmaking does,” says Goloborotko, “it’s an accessible form of expression and has been, through history. . . .printmaking is democratic to its core; when it’s practiced well, and humbly, discrepancies of age—or even of experience—get flattened out, evaporate, in service of the process.”
“That’s what this portfolio is,” says Goloborotko. “The excuse is printmaking; but what we are really doing is history making.”