News about Arnold Brooks from Manhattan Graphics Center


I used a process called steel-facing to generate a body of work. Steel-facing is
electroplating iron onto ferrous metals. It is used in Intaglio to strengthen
plates for editioning. It is not considered a medium to make art work. Below is
a jpeg and a brief explanation.

December 23, 2010


Prints by MGC Scholarship Artists
shown in the Fall Exhibition
A Small Sampling from the Archive from

Anujan Ezhikode

Tyshawn Henry

Luanda Lozano

Rene Lynch


Sarah Nicholls

Ann Paiva

Katia Santibañez

Molly Stinchfield


To all our members and friends,
Manhattan Graphics Center extends holiday greetings, with great hopes in a new
year of artistic creations.

Exhibitions at MGC in January 2011

In the Main Gallery:

Chrissy Lloyd

January 4 – January 31, 2011

Opening Reception:Saturday, January 15, 2011
6:30 – 9:30 pm

Image:Bananas Lithography, 2010

In the Project Space:

The Algorithmic Print
A group show of prints curated by Bob Shore

January 8 – January 31, 2011

Artists’ Babble and Wine To Imbibe
Saturday, January 29, 2011
6:30 pm on

Gallery & Project Space times:
monday 6-10pm/tuesday to friday 10am-10pm

saturday & sunday 10am-6pm

Tracklights: on Process
The materials that are used to create prints are instruments of affect, but also
bring into visibility molecular architectures that lack intentionality.
Abstraction gains significant depth. This unfamiliar materiality was explored in
recent works shown at the fall MGC faculty show, described below.

Arnold Brooks, Untitled, Monoprint with Steel Facing and
Metal Leafing, on Mylar.

The artist elucidates: The piece is part of a large series that explores a new
application of the process called steel facing. The works are metal-leaf applied
to sheets of Mylar using traditional leafing varnish. Mylar (polycarbonate) was
necessary to resist the corrosive effects of the super saturated saline solution
of the steel-facing bath into which the work would be submerged.

The works range from 18"x24" to 36"x60". The monoprints were an experiment
testing the receptivity of the ink on oxidized surfaces. I also experimented
using nitric acid as a drawing technique. A very dilute nitric acid solution
will remove the steel-facing from the leaf. I also tried etching with nitric
through the leaf to reveal color or text painted on the Mylar before it was

I decided to not manipulate the work outside the parameters of the process. The
large size of the pieces stressed the capability of the bath to face correctly.
In the majority, the result was the "incomplete" steel-facing becoming a kind of
drawing technique resulting in large shapes that were steel faced with edges of
unaffected metal leaf. A contributing cause to the incomplete electroplating is
the metal surface of the leaf is not a completely contiguous surface. A few of
the pieces have burn marks due to the size and the corresponding quantity of
amps and heat generated to electroplate a large surface, and the fragile metal

It was important that all the colors were from the leaf itself or from the
process of electroplating , e.g., iron oxide, copper oxide, and the colors
created from heat.

Arnold Brooks teaches Lithography at the Manhattan Graphics Center, and has been
a printer in number of NYC print shops.

Douglas Collins,
A Passage Close to the Body,
Archival Pigment Print on Hahnemeuhle paper,
from a Chemigram original.

Douglas Collins and Richard Turnbull, MGC member artists, have exhibited uncanny
abstract prints in recent shows on the walls of MGC, and thereby introduced the
medium of the Chemigram to the printmakers in the studio who are more familiar
with the look of intaglio, silkscreen and lithography. Created without a camera,
through hand manipulation of the photo papers and processing chemicals in the
photographic darkroom, chemigrams were discovered by the Belgian artist Pierre
Cordier in 1956. Doug will be teaching a class in Glassprints & Chemigrams
during the Winter/Spring term. Rich has curated numerous shows of prints for MGC
and currently serves as

chair for the MGC scholarship committee.

To display these fascinating images, foster technical discussion and explore
personal narratives, Doug authors with Rich, who
has his own site as well at

Track-lights: MGC Member News

The New York Society of Etchers’ Tenth Anniversary Show, on view in November at
the National Arts Club on Gramercy Park, included prints by nine current and
former MGC member artists: Tina Eisenbeis, Jaz Graf, Sarah Hauser, Carmen Isasi,
Marion Lerner Levine, Diane Miller, Marjorie Miller, Ruth Moscovitch, and Angela
Valeria. At the Anniversary event, Marjorie Miller and Diane Miller were cited
for their active participation in the programs of the Society during the past
ten years.

Lynn Margileth: is exhibiting her paintings and prints at the Grange Showroom in
Manhattan until December 31st. The exhibition, including works from many periods
of her artistic production, consists of oil paintings on canvas, etchings and
encaustics. Lynn presented a talk at the Showroom, entitled

The Art of Mystical Places: Voices of the Spirit Tree and the Blue Iris, about
her inspirations and studies of consciousness, spirit and poetry.

MGC Members Gallery online
Member artists are invited to submit images of their work and a brief bio and
statement to the online MGC Gallery that is linked to the MGC website. Send one
or two images (1 landscape or 2 portrait), website URL, one page bio as word doc
(using Arial font) or as pdf format and an optional short 2 line statement.

Send to:

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Newsletter items about members activities (if not too time critical!) are
welcome. You can send a short email to:

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