Stephanie Navon Jacobson

Class Subject:

Printmaking

 

Jacobson Stephanie photo

Stephanie Navon Jacobson has exhibited in galleries and museums in the United States and internationally including the Center for Contemporary Graphics in Norwalk, CT, National Arts Club in NYC, Shelter Rock Gallery, Islip Art Museum, Heckscher Museum, Nassau County Fine Arts Museum, The Shenzhen Art Institute in China, the Manhasset Library, the Port Washington Library, the Firehouse Gallery of Nassau Community College, the Alfred Van Loen Gallery, the Chung Cheng Gallery at St. John’s University, the Art Guild of Port Washington, Elderfields Preserve, and the Tengelsen Gallery at the Art League of Long Island. Shows include I.A.M. Pocketsized at the Islip Art Museum, the International Biennial Miniature Exhibition at the Center for Contemporary Printmaking, Expo 30 at B.J. Spoke Gallery, Huntington, Water’s Edge at the Manhasset Public Library and Line, Through Thick and Thin at the Port Washington Art Guild. Her work is in the permanent collections of Queensborough Community College, New York University School of Law, the American Paralysis Association and private collections throughout the United States, Canada, Norway and Israel. Stephanie has been a juror for the Suburban Art League Open Juried Exhibition, the National Art League Drawing Exhibition, Tri County Artists, and the Art Guild of Port Washington High School Competition. She has been a guest artist at the Village Art Club of Rockville Centre, the Long Beach Art Association, the Suburban Art League, and Women Sharing Art.

Stephanie has been an assistant to master printmakers Ruth Leaf, Dan Welden, and Susan Rostow. She is currently on the faculties of St. John’s University, the Art League of Long Island, the Art Guild of Port Washington, and the Great Neck Adult Program where she teaches printmaking as well as other art disciplines. Although her first love is printmaking, Stephanie also works in oils and mixed media. She finds inspiration in nature and organic images, sometimes realistic, sometimes abstract.

Artist Statement:

As an artist, I am always observing the world around me. Whether floral, landscape, animal, or figure, abstract or realistic, my images always go back to nature. I am first and foremost a printmaker, although I work in other mediums, too. I am a printmaker who paints, rather than a painter who prints. I was originally attracted to printmaking in college. I loved the studio community aspect as well as the various techniques. I enjoyed drawing and printmaking felt like it was a good fit. I like to experiment with various techniques. I often combine different processes by layering an etching over a silkscreen or a woodcut, etc. The possibilities seem endless. I also like the element of surprise each time you pull a print.

Teaching is another passion of mine. I came to teaching about fifteen years ago, after working as a graphic designer in NYC. I had been teaching at the Great Neck Adult Program when I decided to go back to graduate school for my masters. I received my master’s degree in May, 2001 and in September, joined the faculty at St John’s University. In addition to Great Neck and St John’s, I also teach at the Art League of Long Island, where I have been teaching since 2006. It is so satisfying to work with people who are new to printmaking or teach experienced artists a new technique and watch their enthusiasm as they ‘get bit by the printmaking bug’. Printmaking is such a versatile medium. It can stand alone or be incorporated with other mediums such as oil or watercolor. There are myriad ways to approach printmaking. It is user friendly—one can be successful and create beautiful prints regardless of drawing experience. I encourage my students to add printmaking to their artistic arsenal and incorporate it with their other artistic endeavors.

Teaching Philosophy

1. To learn by doing hands-on experimentation in a creative environment in order to build a working vocabulary of various traditional and experimental/ alternative printmaking techniques. Use these techniques in combination, incorporating photography as well as digital imagery in conjunction with printmaking. Although traditional printmaking is hundreds of years old, manipulating photographic and digital imagery and incorporating them into printmaking brings printmaking into the 21st century.

2. To teach good working habits in a community workshop setting. Printmaking is not a solo art form; the most successful studios function as a group unit with interaction among students and faculty using the facility.

 

Unique Floral by Stephanie Navon Jacobson
Octopus II by Stephane Navon Jacobson