in my studio

In my studio

In my studio

In my studio


I was born and brought up in the Yorkville area of New York City. At the time, the neighborhood was a mix of immigrants from all over the world, predominantly Eastern European. The fences in the back yards were mostly collapsed or easily climbed and, as kids, we roamed freely through all of them, admonished by whichever neighbor leaned out their window. My grandmother and aunt and uncle lived upstairs and my parents and my aunt and uncle were all teachers at the Rudolf Steiner School, which I attended from nursery through twelfth grade. The school had managed to obtain a grand old building around the corner from the Metropolitan Museum and the museum became a regular hangout. The floors were well polished and we would run and slide from one end of the galleries to the other when we could get away with it. Gradually as I, and my school friends grew older, the paintings took on individuality and depth and we began to really look. Although the museum has changed dramatically since then, it still feels like homecoming when I return.

At Oberlin College, I initially concentrated in art, but gradually became fascinated by the natural world and my undergraduate degree was in biology. By that time, I had transferred to the University of Iowa where my husband was in the writer’s workshop. The Midwest was a revelation, wide-open skies, land stretching to the horizon. Graduate school was an extraordinary mix of landscape architecture, environmental design and environmental sculpture. The North Carolina Design School was an innovative and dynamic place and allowed me to combine my absorption in art with my interest in the natural world.

Later, after moving to the South End of Boston, having kids and renovating a home that we bought in spite of leaky gas lights, a tree growing in the basement and all the electrical lines coming from one main socket in the living room that by passed the meter, I got a diploma at the School of the Museum of Fine Arts where I studied painting and printmaking. I took over the management of the printshop and was then hired as an associate faculty member. I taught printmaking to beginning and advanced students there for many years and have recently retired.

RESUMEResume. 2023

Contact: ky@kyober.com


Through the years of teaching at the School of the Museum of Fine Arts, through my involvement on the Board of the Boston Printmakers and through work at the cooperative Full Tilt Print Studio, I have felt supported by a lively group of artists and printmakers . The generous impulses of printmakers to share space, exchange ideas and swap prints makes for a vibrant and stimulating community.

SCHOOL OF THE MUSEUM OF FINE ARTS, BOSTON:   One of the many positive things about teaching at the Museum School was the lively mix of students of all ages and backgrounds: As an affiliate of Tufts University, the Museum School attracted Tufts BFA and MFA Students, but also, because the school had a very vital and respected Diploma Program and a vibrant Continuing Education Program that allowed students to take day time classes, and because the school emphasized cross disciplinary endeavors, my classes were often filled with young college students, older independent artists, students from other disciplines and those from other walks of life altogether who brought their experience to the work of the class. The printmaking faculty was also particularly collaborative and we participated in a number of exchange portfolios while I was there with artists from Belgium, South Africa, Australia and other parts of the US as well as with faculty from other departments and a yearly portfolio exchange with our students. The faculty was made up of practicing artists and the school environment encouraged continuing involvement with our own work.

THE BOSTON PRINTMAKERS: I have been on the Board of the Boston Printmakers for many years. This is an organization that has not only survived, but also thrived for over 70 years. If anything it has expanded to include many more possibilities for its members and now represents printmakers from the US, Canada, Mexico, and, more recently, Cuba. The Boston Printmakers North American Biennial is a prestigious exhibition with jurors of distinction, and the Boston Printmakers Student Show gives students from across New England an unusual possibility to take part in a distinctive professional exhibition. It is a crucial part of the organization’s mission. There are also Members’ Shows, residency opportunities, travel and workshop possibilities, purchase and materials prizes, and wonderful food brought by board members for each monthly meeting! The Board is made up entirely of volunteer working artists and I value the experience I have had there. I have acted in a number of different capacities: as the Student Exhibition coordinator, as the Treasurer, as a Sales Coordinator and, more recently, as general support to board members moving in to these positions.

FULL TILT PRINT STUDIO: Begun in 1970 as Experimental Etching Studio, Full Tilt was renamed after it moved out of the South End of Boston to Hyde Park where we have a large space with plenty of work area, a number of presses and etching, lithography and photo exposure facilities. Full Tilt is a non-profit collaborative print studio where member printmakers share in the running of the organization. From it’s beginning, the studio has attracted strong innovative printmakers. Although each artist is independent, the members come together for exhibitions, workshops and to create portfolios of our work.