MEZZOTINT: INVIGORATING A TRADITIONAL METHOD
Julie Niskanen will present an introduction to the beautiful process of mezzotint, covering all facets of the technique from rocking the plate, to image transfer, and the sharpening of a rocker. This demonstration moves you through scraping and burnishing, inks & papers for mezzotint, inking & wiping the plate and the multiple plate process.
Niskanen was born in Greenville, South Carolina. She received her B.F.A. from Iowa State University, and her M.F.A. from the University of South Dakota. Julie lives in Raleigh, North Carolina, where she works as a professional artist and teaches and conducts workshops.
Her award-winning work has been exhibited extensively in national and international exhibitions, and is in many private and public collections. Julie is also part of the Artspace Artists Association in Raleigh, Davidson Galleries in Seattle, and the Washington Printmakers Gallery in Washington, D.C.
Cole Rogers, Artistic Director and Master Printer at Highpoint Center for Printmaking in Minneapolis, will demonstrate the registration and mounting of over sized chine-collé sheets.
Rogers manages Highpoint’s artistic production, long-term creative vision and stature within the artistic community. Highpoint Editions print projects have been acquired by many institutions including; The Minneapolis Institute of Arts, the Museum of Modern Art New York, The National Gallery, the Walker Art Center, and the Whitney Museum of American Art.
DAVID STORDHAL and XAVIER TAVERA
David Stordahl, master printer at Trykkeriet Center for Contemporary Printmaking in Bergen, Norway, will be working in collaboration with artist Xavier Tavera throughout the conference, editioning a 4-color photogravure. Stordhal will discuss and demonstrate the unique color photogravure process: from making the positives, to processing, developing and printing the plates, to reproduce a continuously toned photographic image.
ASPHALTUM LITHOGRAPHY MANIERE NOIRE
Michael Barnes will present the reductive and additive process of working with asphaltum on lithographic stone to produce multiple color images. This process is a variation of the manière noire technique. A range of techniques involving reductive drawing and reductive color printing will be presented. This process is commonly used in Eastern European countries, but is not well known in the United States.
Michael Barnes received his MFA from the University of Iowa and his BFA from Alma College, in Michigan. He has participated in a number of residencies including the Frans Masereel Centrum in Belgium; The Bemis Center of Contemporary Art in Omaha, Nebraska; Anchor Graphics, Columbia College, Chicago; and the Plains Art Museum in Fargo, North Dakota. His work has been exhibited in over 100 competitive group exhibitions since 1996, including exhibitions in Wales, Poland, Taiwan, Estonia, Japan, Romania, Finland, and the Republic of Macedonia. His awards include an Illinois Arts Council Grant and an Illinois Arts Council Finalist Award. His work is included in many collections, including the Museum of Fine Art, Boston, The Royal Museum of Art, Antwerp, Belgium, the City of Vaasa, Finland, The Mary and Leigh Block Museum of Art at Northwestern University, The Plains Art Museum, Fargo, North Dakota, and many university and private collections.
.His Selected solo exhibitions include Street Level Gallery Highwood, Illinois; the OIA - Gallery 402, New York City; Anchor Graphics in Chicago; Cervini Haas Gallery, Scottsdale, Arizona, Northern Kentucky University; St. Cloud State University, Minnesota. Recent group exhibitions include “Introductions”, Davidson Galleries, Seattle, “Bookplates”, Printworks, Chicago, "Drawing VII", Koplin Del Rio Gallery, West Hollywood, "Outlaw Printmakers", (a traveling exhibition which has shown at Big Cat Gallery, New York, Dennis Morgan Gallery, Kansas City, and Kelly Rae Theiss Gallery, Minneapolis), "New Prints", International Print Center, New York.
DRUM LEAF BINDING
Based on an Atlas from the 17th century, this innovative, glued binding is an ideal way to turn your artwork into a book format. It requires no sewing so there is no thread to interfere with any Drum Leaf bound image or text that crosses through the fold of the page. Each folded two-page spread can be a print, painting or digital image that is glued to the back of the next page, producing a lightweight and flexible book.
Presenter Jana Pullman is a book artist, binder and conservator, living in Minneapolis and has been involved in the book arts since 1983. She received her M.F.A in 1988 from University of Wisconsin-Madison, after which she supervised the Repair Unit for the General Collection at the Marriott Library at the University of Utah, focusing on conservation work. Pullman also served as the Apprentice/Manager at the University of Iowa Oakdale Paper Facility where she made handmade papers tailored for book and paper conservation and helped with the ongoing research.
She is an adjunct faculty member in the Art Department at the University of Minnesota and an instructor at the Minnesota Center for Book Arts. She also teaches workshops throughout the country. She operates Western Slope Bindery in Minneapolis.
PRINTMAKING PIG CIRCUS by the DIRTY PRINTMAKERS OF AMERICA
JOHN HANCOCK, JOSEPH VELASQUEZ, EMILY ARTHUR DOUGLASS, XENIA FEDORCHENKO and CURTIS JONES
The Printmaking Pig Circus and the Dirty Printmakers of America will present a hands-on printmaking ordeal through screen and relief methods. Using the Drive By Press model of event printing attendees will be able to print their own poster and or shirt.
10 Years ago John Hancock and Joseph Velasquez formed the Dirty Printmakers of America, a rogue group of outlaw printmakers that have tarnished the Ivory Tower of tradition and expectation in their attempt to demystify process, and democratically present printmaking to the masses. The DPA has inspired such ideas as Drive By Press as well as other guerilla printmaking groups all over the country. Minneapolis and St. Paul are the next targets.
The lead team of printers will be Joseph Velaquez, John S. Hancock, Emily Arthur Douglass of the University of North Florida, Xenia Fedorchenko of Lamar University and Curtis Jones and Marwin Begaye of University of Oklahoma.
John Hancock’s selected solo exhibitions include Street Level Gallery Highwood, Illinois; the OIA - Gallery 402, New York City; Anchor Graphics in Chicago; Cervini Haas Gallery, Scottsdale, Arizona, Northern Kentucky University; St. Cloud State University, Minnesota.
Joseph Velasquez’s exhibitions include “Introductions”, Davidson Galleries, Seattle,
Printworks, Chicago, "Drawing VII", Koplin Del Rio Gallery, West Hollywood, "Outlaw Printmakers", (a traveling exhibition which has shown at Big Cat Gallery, New York, Dennis Morgan Gallery, Kansas City, and Kelly Rae Theiss Gallery, Minneapolis), and "New Prints," International Print Center, New York.
MOKU HANGA FOR THE TWENTY FIRST CENTURY
Preston Lawing’s demonstration featuring Moku Hanga (traditional Japanese woodblock printing) will present tools, papers, registration techniques, color blends, and multiple block variations. Moku Hanga offers artists, printmakers and teachers an opportunity to explore water based block printing with beautiful gradations, delicate details and precise registration.
Preston Lawing is the Chair of Art and Design at Saint Mary's University of MN.
In 2008, He was chosen to represent the United States in the Nagasawa Art Park / Artist in Residence in Awaji-Shima, Japan. His woodblock prints reflect the respect of the traditional Moku Hanga prints, as well as contemporary methods and materials. He is a regular instructor at the Penland School of Crafts in North Carolina, and exhibits nationally and internationally.
ENGRAVING IN THE 21ST CENTURY
James Ehlers, Professor at Emporia State University, demonstrates traditional engraving processes, tools and the printing of engravings.
Ehlers received a BA from McNeese State University (2000), MA from Bradley University (2002) and MFA from the University of Florida (2005). He remains active in exhibiting work and has been in over a combined 100 national, international, competitive, invitational, touring and solo exhibits around the world.
Ehlers' has conducted engraving demonstrations and workshops at Nicholls State University, the Kansas City Art Institute, the University of Kansas, Iowa State University and at the IMPACT Conference in Bristol, England. His work is in a number of collections, including the Spencer Museum of Art and the Engraving Museum of Douro, Alijo, Portugal.
SUICIDE PRINT SERIGRAPHY
NELSON EDI HOHMAN
Nelson Hohmann will show how to print using recycled areas of a serigraphic stencil,
and how to utilize a range of positive and negative color areas in the process.
Nelson Edi Hohman hails from Curitiba, capitol city of Paraná, in the South of Brazil. He has been an active participant of the Curitiban art community since the 1980's, and the Solar do Barão municipal printmaking studio. After graduating from Universidade Federal do Paraná, Universidade de Tuituti and Escola de Belas Artes he became professor of serigraphy and relief printmaking at the Solar, exhibiting work in Brazilian cultural institutions and museums in Rio de Janeiro, São Paulo, and Brasilia.
LET THE MACHINES DO ALL THE WORK!
ROBIN SCHWARTZMAN and MARK KNIERIM
This demonstration will present an overview of how both a laser cutter and CNC Router can be utilized to create a variety of print matrices. Viewers will learn how to digitally fabricate plates for etching and relief processes. Templates designed in Adobe Illustrator, CorelDraw and EnRoute4 will be sent to the laser cutter and Router for precision cutting and engraving. Once cut, the plates will be hand printed to show the variety of results that can be achieved..
Robin Schwartzman is a University of Minnesota Graduate Student in Printmaking, and has her B.F.A. from Syracuse University.
Mark Knierim has his M.F.A. from the Minneapolis College of Art & Design and his B.F.A. from the Art Institute of Chicago. He is the Facilities Supervisor and Technical Coordinator at the University of Minnesota Department of Art.
PANELS AND DIALOGS
”Printermedia: Teaching printmaking within an intermedia context TIME
This panel will focus on strategies of teaching long-established printmaking systems within the framework of an intermedia pedagogy. This word intermedia (meaning lying or occurring between media) sets into motion an avalanche of possibilities for printmaking to intersect other media and concepts, often acting as a conduit or even destabilizing and expanding the cannon¹s of the medium. The artists/designers selected for this discussion have attempted to, in their classroom/studio practices, move the frontier of printmaking towards an examination of a formal system as a carrier of theoretical discourse.
Nancy Palmeri, Associate Professor and Graduate Advisor/Coordinator,
UT Arlington, Arlington, TX
Nancy Palmeri received her BFA from SIU Edwardsville and MFA from the
University of Nebraska, Lincoln.
Nicole Hand, Professor, Murray State University, Murray, KY
Nicole Hand received her BFA from the University of South Dakota, Vermillion
SD and her MFA from The University of Miami, Miami, FL.
Darryl Lauster, Assistant Professor, UT Arlington, Arlington, TX
Darryl Lauster received his BFA from San Diego State University, San Diego,
CA and his MFA from the University of Houston, Houston, TX
Robert Grame, Associate Professor, UT Arlington, Arlington, TX
Robert Grame received his BFA and MFA from Kansas State University,
Ben Rinehart, Assistant Professor, Lawrence University, Appleton, WI
Ben Rinehart received his BFA from the Herron School of Art, Indianapolis,
IN and his MFA from Louisiana State University, Baton Rouge, LA.
This panel addresses the ways in which high, low, mixed and obsolete technologies help shape the practices and possibilities of three print-oriented art making groups, including Florida State University’s Small Craft Advisory Press/formLab, Preacher’s Biscuits Books and Impractical Labor in Service of the Speculative Arts (ILSSA). Each organization, represented by its co-directors, will speak to how the choosing of technological opportunities and constraints functions both to shape the work they publish and create, and to propel their conceptual projects forward. The panel hopes to share its experiences and to demonstrate that a conscious and considered approach to adopting a level (or levels!) of technology for art making is of much greater importance than any particular technology itself.
Denise Bookwalter makes art with paper. Her prints, books and objects are exhibited nationally and internationally. She holds an MFA in printmaking from Indiana University and is currently an assistant professor at Florida State University were she is also a founding member and the director of Small Craft Advisory Press.
Chad Eby investigates crash sites at the intersections of art and technology, and sometimes makes machines that, in turn, make strange noises. He holds an MFA in Imaging and Digital Art from the University of Maryland Baltimore County and is currently an assistant professor at Florida State University.
Kristen Merola is the Assistant Director of VSW and cofounder of Preacher's Biscuit Books. She has an MFA in Visual Studies from VSW and a BFA in Film from the University of Wisconsin-Milwaukee. Kris has exhibited her personal film and video, print, and book works nationally. Her art also encompasses publishing books by others and those titles are in many private and public museum and library collections worldwide. She recently received an artist residency award from Small Craft Advisory Press at Florida State University to produce a collaborative artists' book and has been invited to speak on that project at conferences in 2010 and 2011. http://www.kbluem.com, http://www.preachersbiscuitbooks.com/
Tate Shaw is the Director of Visual Studies Workshop, a center for the media arts in Rochester, NY with an MFA program in Visual Studies. He is co-founder of Preacher's Biscuit Books, publishing artists' books since 2005. Shaw's artists' books are exhibited and collected internationally and he writes and curates exhibitions of artists' books, photography, and new media.
Emily Larned is an artist, writer, designer, and letterpress printer working in Bridgeport CT. She is the sole proprietor of Red Charming (www.redcharming.com) and co-founder of Impractical Labor in Service of the Speculative Arts (www.impractical-labor.org). Her work is internationally collected and exhibited and she has taught and lectured widely. She received her MFA from Yale School of Art in 2008 and is now Chair of Graphic Design at Shintaro Akatsu School of Design (SASD) at the University of Bridgeport.
Bridget Elmer is an artist, bookmaker and letterpress printer working in Asheville NC. She is the proprietor of Flatbed Splendor (www.flatbedsplendor.com) and co-founder of Impractical Labor in Service of the Speculative Arts (www.impractical-labor.org). She received her MFA in the Book Arts from the University of Alabama in 2010, and she will graduate with her second Masters in Library and Information Studies in 2011. Having recently taught as an Adjunct Professor at Florida State University and a Visiting Art Professor at Colorado College, Bridget currently serves as an Instructor at Asheville BookWorks.
No School, School, & Letterpress
When Rachel began teaching at the College of St. Benedict & St. John’s University in 2007, people kept saying she had to meet Mary Bruno. Rachel, then 29, thought a letterpress printer in tiny St. Joseph, MN, would be “old school.” As it turned out, Mary and Rachel had age in common more than anything else. Thus, they will focus on their “no school, school” paths to letterpress and “St. Joe.” Though both have printmaking BAs, Mary worked fifty odd jobs before approaching letterpress via her late father, Don; and internships with Bill Moran, Jim Sherraden, and Amos Paul Kennedy Jr.. Rachel went from one internship with fine press printer Gaylord Schanilec, to an MFA, to six years of college teaching. Mary and Rachel will show their collaborations and discuss courage gained, assumptions shed, and commonalities discovered—especially ties to the past and future via mentors and students.
Rachel Melis is an Assistant Professor of Art at the College of Saint Benedict and Saint John's University in Minnesota. She received her BA at Grinnell College and her MFA at the University of Wisconsin-Madison. Her books, prints and installations use letterpress-printed texts, carved textures, and vintage textiles to convey the processes of carrying, flowing, fretting, and settling.
I, Mary Bruno, am a letterpress printer in St. Joseph, MN. I received my BFA in printmaking from St. Cloud State University and have been hanging out with printers ever since. I have created a line of irreverent greeting cards that has helped me turn my passion into a business. My art derives from my personality, my love for letterpress, and my network of anyone or anything connected to letterpress.
Old War New War
This panel will address the subject of war, looking back and looking at the current state of war. Panelist’s topics will be divergent from one another and far reaching on the subject. The panel will include an investigation into the relevance of print lore generated by past wars to our contemporary responses to conflict and war. Panelists will tackle this difficult subject through recent scholarship concerning historic representations of war as well and by considering contemporary prints dealing with current issues. Special attention will be given to the relationships between historical and contemporary printed art and the complex relationships between the making of images of war and their use and miss-use in various social contexts.
Michael Krueger is a father, an artist and a teacher. In 1990 Michael earned a BFA from the University of South Dakota and in 1993 he graduated with an MFA from the University of Notre Dame. In 1995, Michael moved to Lawrence for a teaching post at the University of Kansas. Michael’s creative research has taken him all over the globe from Asuncion, Paraguay to the United Arab Emeritus, to Scotland, England, Belgium, France and Italy. He has recently had solo shows at Sunday L.E.S., New York, NY, Steven Zevitas Gallery, Boston, MA & Vanderbilt University, Nashville, TN. His work has been included in group exhibitions at Elizabeth Foundation for the Arts, New York, NY, Ambacher Contemporary, Munich, Germany, Glasgow Print Studio, Glasgow, Scotland, UK, and International Print Center New York, (Chelsea) New York, NY among others. http://michaelkrueger.us/
Stephen Goddard has dedicated his career to the study of printed art. After two years of research in Belgium, and the successful completion of his doctoral work at the University of Iowa he enjoyed a post-doctorate position at the Yale University Art Gallery. In the course of his twenty-five years at the Spencer Museum of Art he has organized dozens of exhibitions and offered many courses on the history of printmaking. He was, for four years, president of the Print Council of America. In addition to his publications, Goddard conceived and continues to maintain an online database of catalogues raisonné for print research. Trained in printmaking as well as in art history, Goddard’s current interests include exploring connections between the arts and sciences.
Tim Dooley received his MFA from the University of Tennessee, Knoxville, in 1997. He now teaches at the University of Northern Iowa, where, ignoring pleas from the Office of Homeland Security, he has been granted the esteemed rank of Associate Professor with tenure. One of the lesser known ‘Inlaw’ printmakers, he has exhibited his work all across the country by himself, with just a few others, or with great unwashed masses of artists. Professor Dooley has received a number of awards (some cash!) at national and international juried exhibitions. He is best known for his “Prinstallation” Mixed-Product, an out-of-control graphic entity that evolved/mutated from 1998-2009. This body of work was selected by the National Endowment for the Arts for a Challenge America: Reaching Every Community Grant. His work was recently published in the textbook Printmaking: A Complete Guide to Materials and Processes, Fick & Grabowski.
Adrianne Herman (see Ground Up)
MFAs in the ‘00s
Four recent MFA graduates discuss their work and practices, while also presenting their perspectives on the current state of printmaking and their hopes for its future. Held in conjunction with the MFAs in the‘00s exhibition at Concordia University, St. Paul, this forum will consider what makes a graduate program strong, how emerging artists remain focused and supported, and the concerns of new faculty, among other topics. A cross-country mobile press, a tenure-track teaching gig within 5 years, corporate sponsorship, art-world “success”…anything is possible with an MFA in tow. Or is it?
Co-organized by Fred Hagstrom, Rae Schupack Nathan Professor of Art at Carleton College and Stephanie Hunder, Chair of Art Dept. and Gallery Director at Concordia University, Saint Paul.
Based in New York City, Melinda Yale (chair) has exhibited her work both nationally and internationally. Her artists books are represented in special collections throughout the country. Yale has received fellowships from BRIC Media Arts Brooklyn, the Lower East Side Printshop, Women’s Studio Workshop and Anderson Ranch Art Center. Melinda completed her MFA as a Hixson Lied Fellow at the University of Nebraska-Lincoln and her BA at Carleton College.
James Ehlers is the Don and Mary Glaser Assistant Professor of Engraving Arts at Emporia State University in Emporia, KS. ESU is the only school in the country that offers a BFA in Engraving Arts. James attended McNeese State University and Bradley University, and earned his MFA from the University of Florida.
Carrie Lingscheit originally hails from South Dakota, where she received a BFA from the University of South Dakota in 2006. Through exposure to several Frogman’s Print and Paper Workshops, as well as to numerous conferences and exhibitions, she has developed an incurable passion for printmaking. She currently resides in Athens, Ohio, where she recently completed her MFA and continues to teach print courses at Ohio University.
Joseph Velasquez completed his MFA in 2005 at the University of Wisconsin,
Madison. He is a co-founder of both Drive By Press and the Dirty Printmakers of America. Velasquez is currently a Visiting Assistant Professor of Art at Auburn University, in Alabama.
Ground Up: Teaching Printmaking in the 21st Century
This panel discusses studio-based pedagogical methods for introducing print to younger generations in today’s “post-medium” art world. The term “post-medium” is not meant as an assault on conventional techniques and processes, but quite the opposite by nurturing an attitude that expands the definition, audience, and possibilities of “the medium”. The printmaking classroom will be framed as a think-tank space where technique and history meet new technologies, contemporary aesthetic strategies, and theme-based approaches to teaching. Questions will include: How do we define the changing role and relevance of printmaking in the digital age? How do well-worn concepts like the “copy” or “impression” reinvent themselves? How do we address both technique and “making art” in the student printer’s studio? How does programming supplement classroom activity?
Natasha Pestich (chair) is a local Minneapolis artist, who currently holds the position of Assistant Professor and Area Coordinator for the Print Paper Book Area in the Fine Arts Department at the Minneapolis College of Art and Design, where she has spent the past fours year developing innovative print-based curriculum. She works primarily in installation, both site-specific and non-site, while nurturing arts-based community development partnerships. Her work has been showcased in both alternative spaces like the Urban Institute for Contemporary Art in Michigan, and the Generator Gallery in Scotland in addition to urban sidewalks and local community centers.
Jon Swindler is currently an Assistant Professor in the Lamar Dodd School of Art at the University of Georgia where he teaches in the Printmaking and Book Arts area. Over the last several years, Jon has exhibited his work in numerous solo, competitive and invitational exhibitions throughout the United States, Canada and Europe. He has also performed visiting artist workshops and lectures at various institutions, including: The Art Academy of Cincinnati, The Academy of Visual Arts, Ghent Belgium and the University of New Orleans. Jon resides in Athens, GA with his wife Stephanie and son Willem.
Althea Murphy-Price has shown in several solo and group shows in Philadelphia PA, Massachusetts, North Carolina, South Carolina, Virginia, Chicago, Atlanta and China. Some of these galleries include Artforms Gallery in Philadelphia, Pennsylvania where she was awarded First Prize Winner of the Annual Emerging Artist Exhibition, Artspace Gallery in Richmond, VA, and The Print Center Gallery of Philadelphia. She currently holds the position of Assistant Professor, at the School of Art, University of Tennessee, Knoxville.
Adriane Herman investigates consumption through appropriated imagery and media ranging from archival to edible. Her independent efforts to normalize consumption of fine art dovetail with collaborative efforts such as Slop Art. Herman has explored content in context with BFA and MFA students at Kansas City Art Institute and Maine College of Art, where she is currently Associate Professor of Printmaking / New Media and Foundation Department Chair. Sites of recent and upcoming solo exhibitions include Western Exhibitions (Chicago); Center for Maine Contemporary Art; the Ulrich Museum (Wichita); and Whitney Artworks (Portland). Recent group exhibitions include those at Adam Baumgold Gallery (New York); The Dalarnas Museum (Falun, Sweden); Portland Museum of Art; The International Print Center (New York).
“New and Old Generations: Teaching Printmaking”
The session will examine the relevance of an historical self-awareness in the teaching of printmaking today. The history of printmaking has been marked by the ways that it has changed and evolved to reflect aesthetic, social, economic and commercial changes in the graphic arts. Through most of its history, the guild model was used in the training of printers, who worked as apprentices and journeymen before achieving a level of “mastery.” Today the education of printmakers is typically done in the context of college and universities, and with an effort to educate rather than train the student artist. The session will address a variety of questions related to the education of printmakers and attitudes towards the discipline. It will also include analysis of data from a survey of artists working in print media that was distributed through the MAPC and SGCI list servers.
Jack Damer (co-chair) is a Professor of Art at the University of Wisconsin, Madison where he has taught printmaking, primarily lithography, drawing and seminars since 1965. He received his MFA and BFA degrees from Carnegie Mellon University. He has taught and conducted workshops at over 75 institutions. His exhibition record includes over 150 national and international group and invitational shows.
Beauvais Lyons (co-chair) is a Professor of Art at the University of Tennessee in Knoxville where he has taught printmaking since 1985. Lyons received his MFA degree from Arizona State University in 1983 and his BFA degree from the University of Wisconsin-Madison in 1980. Lyons’ one-person (mock-academic) exhibitions have been presented at over 50 museums and galleries in the United States and abroad.
Click here for a complete description of panels and panelists!
Click here for a complete description of demonstrations and demonstrators!
Note: Beauvais Lyons has asked (for his panel) that you complete this online survey. Thanks!