About Us

WELCOME! The New York Society of Etchers, Inc. was first conceived in 1998 as a platform for providing exhibition opportunities to intaglio printmaking specialists in New York City.  Today the society is an internationally recognized artist-run print organization with dozens of major exhibitions to our credit. Currently there are some two hundred and seventy-five printmakers across New York State with a variety of exhibiting interests, experience and influence that participate in our group’s activities. 

The Society was organized in the spirit of a predecessor group known as the New York Etchers Club founded in 1877.  Today, our published mission statement defines the group as that of an exhibiting society, which is equally dedicated to documenting a large body of contemporary print work with photographic reproductions of exhibited works. The society’s catalogues also serve the permanent record by incorporating interviews with respected members of the printmaking community, essays written by graphic artists about their experiences as visual artists, photographs of our exhibition installations and in many cases pictures the artists.  The catalogues further strive to make note of changes in the various technical approaches and trends in artist printmaking; address the impact of technology on our activities and organization; note the passing of significant figures in New York printmaking history; and, to some extent remark on the times.

There are never cash prizes or material awards offered to exhibiting artists.  Instead, we believe strongly that the achievement of cooperating with fellow artists in exhibiting the best artwork possible is reward enough in itself. The publicly announced exhibition jurors are above reproach, and the print selection processes always strictly anonymous – jurors may know only the size, medium and title of a work under consideration.  Consequently, some artists are not attracted to our activities. Though it all, The New York Society of Etchers has inspired a large following of talent at every career level prompting exhibitions and receptions that shine. 

A key element of the organizational structure is that “membership” in the society is “exhibition specific,” constantly re-forming around a core group that includes Stephen A. Fredericks, Andy Hoogenboom, Denise Kasof, Sara Sears, Anne-Rose van den Bossche, Bruce Waldman, and Steven Walker identified simply as directors. ‘Members of the society’ are exhibition-specific, i.e., those that initiate and organize a particular show, help hang it, or contribute to the catalogue in some way.   The Society, as a matter of policy and practice, encourages our constituency to submit new exhibition ideas and supports the participation of newcomers in our activities.  We believe in openly sharing our expertise and developing relationships with printmakers everywhere.

Our ongoing objective is to bring together the best artistic talents possible for each new project, ensure organizers receive appropriate recognition for their contribution, and to develop leadership qualities among the artists.  The New York Society of Etchers is first and foremost about organizing and recording shows of exceptional quality. These practices have proved to be the bedrock of the Society's success and following. 

Since the NYSE began its formal exhibit program in 2000 it has created and collaborated in 29 exhibitions of artist prints.  Eight of these efforts have focused exclusively on the graphic arts of local emerging artists and not-for-profit workshops; thirteen of the shows have had international influences with collaborating visual artists from Hungary, China, France, Ireland, Peru, The Ukraine, and Australia; and the remaining seven exhibitions have been organized on behalf of cultural institutions including the Museum of the City of New York, the Transit Museum New York, the Housatonic Museum in Bridgeport, CT, The Ukrainian Institute of America and The Paramount Center for the Arts in Peekskill, NY.  So far, ten of these exhibitions have been documented in professionally published catalogues.  

Portfolio projects of exhibited prints were also been organized for most of the aforementioned institutions, and the New York Public Library which accepted a collection following our inaugural exhibition.  We believe strongly that these portfolios will preserve and significantly support the long-term record of New York printmakers.  Our catalogues and exhibition posters are widely held in public and private collections, from the Library of Congress to The Metropolitan Museum of Art. 

At present we have plans for future projects with printmakers from other American cities, Europe, South America, Africa, as well as several public New York venues. 


If you would like to receive announcements for upcoming exhibitions and the opportunity to showcase your work, please email your postal mailing address - and you will hear from us. 

If you may be free to help out with hanging a show, for example, let us know.  If you have a relationship with another printmaker’s society in the United States or abroad, know of a great, reasonably-priced exhibition space, or have an idea for an exhibition you would like to propose and help develop – please let us know that, too.  Particular care is always taken in studying exhibition spaces and making decisions in advance on how to work with a new venue.  We are especially focused on the aesthetics of framing, matting, hanging and presenting every show, and are mindful that oversubscribing the volume of work, or inconsistencies in format can result in a distracting and confusing presentation.      

We look forward to hearing from you.