We are proud to have selected the following panels for the 2017 SGCI Conference in Atlanta.

Kennesaw State University

Jerushia Graham
Tina Dunkley
Artists of the African Diaspora: Printmaking

Artists of the African Diaspora: Printmaking

In a city known as the Black Mecca of the South, it seems fitting to host a panel to highlight the contributions of artists of the African Diaspora to the field of printmaking. The panel represents a wide array of perspectives (individual artist, master printer, collection manager, and director of an institution) who have been invited to conduct a robust conversation about the legacy of printmakers of color; current research, mentorship, & collections to be aware of; visions for expanding possibilities of the medium; and stronger integration of diverse voices into the larger narrative of print.

About Panel Chairpersons, Jerushia Graham and Tina Dunkley

Jerushia Graham is an Atlanta-based artist who exhibits both nationally and internationally. She earned an MFA in Book Arts/Printmaking from the University of the Arts in Philadelphia, & BFA degrees in Fabric Design and Printmaking from the University of Georgia in Athens. She teaches for Kennesaw State University and the University of West Georgia; develops arts programming for Hudgens Center for the Arts, Spelman College Museum of Fine Art, & the Robert C. Williams Paper Museum; and serves in the capacity of curator, juror, or consultant for various organizations. Graham is currently the Education Director for Atlanta Printmakers Studio.

Tina Dunkley is an Atlanta based multi-media artist and Director Emerita of Clark Atlanta University Art Museum. She holds a BFA in Painting and Sculpture from The School of Visual Arts, NY, and a Master of Arts in African American Studies from Atlanta University. In 2013, she received a Lifetime Achievement Award from the Women's Caucus for Art following her seminal publication, In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection, commemorating the 70th anniversary of the University’s internationally revered permanent collection of American art.

In addition to exhibiting in solo and group exhibitions nationally and internationally, she has also curated many exhibitions at Georgia State University Art Gallery, School of Art and Design and Clark Atlanta University Art Galleries. Her work is in many collections, including that of the High Museum of Art, Atlanta, Contemporary Arts Center, and the Georgia State Art Collection. Her art investigates the varied manifestations of the African Diaspora saturated in generations of European thought and consciousness. Spiritual immortality, the innocence of childhood, the struggle with self-image, and black resistance to marginalization are all common themes in her work. Dunkley is currently creating work that illuminates her recent publication, The Merikins: Forgotten Freedom Fighters in the War of 1812. This lost chapter of world history conveys the discovery of her maternal lineage to the Merikins-- descendants of war refugees residing in an extant maroon community in South Trinidad. (www.tinadunkley.com)

Tina is one of three artists to receive the Atlanta Printmakers Studio Emerging Printmakers Internship for 2017.

Panelists

  1. Jerushia Graham (panel chairperson)
  2. Tina Dunkley (panel co-chairperson)
  3. Emily Bibb, Collections Manager of the Paul R. Jones Collection of American Art at the University of Alabama
  4. Curlee Raven Holton, Executive Director of the David C. Driskell Center & Founding Director of the Experimental Printmaking Institute
  5. Thomas Richard Lucas, Founder and Master Printer of Hummingbird Press Editions
  6. Eleanor Neal, Atlanta-based Nationally Exhibited Printmaker

Gallery

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Curlee Holton's artwork, Reimagining Othello Curlee Holton's bio photo Eleanor Neal's monotype collage based on the nature, the spirits that live below ground Eleanor Neal's monotype and pen & ink drawing based on a trip to Ossabaw Island Emily Bibb's bio photo Thomas Lucas' public art entitled Time Traveler 2 Thomas Lucas' bio photo

Justin RabideauLooking Back to Go Forward: The SGC International Collection
Bernard A. Zuckerman Museum of Art

Zuckerman Museum of Art

In 2013, the Bernard A. Zuckerman Museum of Art (ZMA) at Kennesaw State University was awarded the honor of housing and caring for the Southern Graphics Council International’s print collection and archive. During this lively conversation, panelists will discuss the history of the collection and how the ZMA worked alongside the community at KSU and SGC International to gain ownership of this unique treasure. Panelists will also talk about about the cataloging process for the ever-growing trove of print portfolios, maintenance of the artwork, and how the collection will be used and made available in the future. 

About Panel Chairperson, Justin Rabideau

Originally from upstate New York, Justin Rabideau has a Bachelor of Fine Arts with a concentration in Printmaking and Sculpture from the State University of New York at Plattsburgh. In 2006, he received a Master’s of Fine Arts in Sculpture from the University of Georgia. Thereafter, he was employed at the Everson Museum of Art in Syracuse, New York as the Curatorial Assistant and Preparator, the Flagler Museum in Palm Beach, Florida as the Exhibit Technician, and held teaching/visiting artist positions at Cazenovia College, Munson Williams Proctor Art Institute and Palm Beach State College. In 2011, Rabideau relocated to Atlanta, Georgia where he was appointed Interim Director and subsequently Director of the Bernard A. Zuckerman Museum of Art.

Panelists

  • Justin Rabideau (Chairperson)
  • Beth Grabowski, Professor of Art, University of North Carolina at Chapel Hill
  • Sarah Higgins, Curator, Zuckerman Museum of Art
  • Michelle Lopez, Registrar & Collections Manager, Zuckerman Museum of Art
  • Katy Malone, Education + Outreach Manager, Zuckerman Museum of Art

Rich GerePublish or Perish: A New Road

Gere

A conversation investigating master printing projects associated with universities such as; Small Craft Advisory Press - Florida State University; Lake Effect Editions – Syracuse University; Full Court Press – Texas A&M University-Corpus Christi and P.R.I.N.T., Print Research Institute of North Texas – University of North Texas. Collaborative printing in universities today has a DIY spirit that spans an array of outcomes from teaching tools to fundraising. This panel will explore how several programs across the country develop and manage these resources, goals for the collectives, publishing and how these projects align with department and university initiatives.

Rich Gere

About Panel Chairperson, Rich Gere

Rich Gere is a Texas based artist, educator and arts administrator. He is currently Professor of Art and Chairperson of the Department of Art at Texas A&M University-Corpus Christi. His work has appeared in over 200 juried, and group shows along with over 25 solo exhibitions across the United States, Europe, Mexico and Asia. Rich Gere is represented by Marcia Wood Gallery of Atlanta GA.

Panelists

  • Rich Gere (panel chairperson), Professor of Art, Texas A&M University, Corpus Christi, Full Court Press
  • Dusty Herbig, Associate Professor of Studio Arts, Syracuse University, Lake Effect Editions
  • Denise Bookwalter, Associate Professor of Art, Florida State University, Small Craft Advisory Press
  • Ryan O’Malley, Associate Professor of Art, Texas A&M University, Corpus Christi, Full Court Press

Gallery

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Aaron Coleman Denis McNett, Full Court Press Denise Bookwalter and Frank Giampietro, Small Craft Advisory Press Denise Bookwalter, Small Craft Advisory Press Harmen Liemburg, Full Court Press Michael Barnes, Lake Effect Editions Tonya Favianna and Dusty Herbig, Lake Effect Editions

Nicholas SilbergSlinging Ink in the South

Slinging Ink in the South

This session will call on the experiences of artists “slinging ink in the South.” Throughout most of its history, the South has cultivated artists who rely on their resourcefulness, determination, and community to survive. This reliance has informed a new generation of artists who are adept practitioners in a rapidly changing landscape of print. Each panelist will discuss his/her experiences with pulling prints in the South and how they feel the legacy of southern printers and printmakers have informed their work and community. The panel will then open for a question and answer period, in order to further confront the historical complexity of what it means to sling ink in the South.

Nicholas Silberg

About Panel Chairperson, Nicholas Silberg

Nicholas Silberg is an Associate Professor and Chair of the Fine Arts, Humanities, & Wellness Department at Savannah State University in Savannah, Georgia. He also serves as Ashantilly Press Project Coordinator at Ashantilly Center in Darien, Georgia. Nicholas holds a Masters of Fine Arts from Savannah College of Art and Design and is an Alumni of Indiana University of Pennsylvania where he received a Bachelor of Science in Communications Media.

Panelists

  1. Nicholas Silberg (panel chairperson), Chair of Fine Arts, Humanities, & Wellness and Associate Professor of Art, Savannah State University, Savannah, Georgia
  2. Margot Ecke, Graphic Designer, Professional Printer, Smokey Road Press, Athens, Georgia
  3. Jesus De La Rosa, Associate Professor of Art, Texas A&M University, Kingsville, Texas
  4. Scott Smith, Associate Professor and Program Coordinator, Alabama A&M University, Huntsville, Alabama  

Gallery

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1.	Borderland Madonna, Screen Print Paz, Screen Print When a Flower Grows Wild, Letterpress Green Bundle, Etching, Relief, Silkscreen, Collage, and Assemblage

Loews Hotel

Susanna CrumCrossroads: Intersections & Interventions

Artist Hank Willis Thomas said, “My work is about framing and context. More specifically, I am fascinated with how history and culture are framed, who is doing the framing, and how these factors affect our interpretation of reality.” For centuries, prints have been methods to share social actions and political ideologies. Maps and publications provide material evidence of the ways social frameworks and norms have been maintained. As commercial media grows increasingly screen-based, image-making techniques that reproduce inequities and erasures remain. Panelists discuss artworks that appropriate historical contexts of printmaking to perform interpretations of print media’s authority and agency today.

About Panel Chairperson, Susanna Crum

Susanna Crum

Susanna Crum received an MA and MFA in Printmaking from the University of Iowa, and a BFA in Printmaking from Cornell University. Her work has been featured in exhibitions at venues such as 1078 Gallery, Chico, CA; Manifest Creative Research Gallery and Drawing Center, Cincinnati, OH; Carnegie Center for Art and History, New Albany, IN; Kentucky Museum of Art and Craft, Louisville, KY; and Liu Haisu Art Museum, Shanghai, China. Susanna is co-founder and associate director of Calliope Arts Printmaking Studio & Gallery in Louisville, KY, and Assistant Professor of Fine Arts - Printmaking at Indiana University Southeast.

Panelists

  • Susanna Crum (panel chairperson), Assistant Professor of Fine Arts - Printmaking, Indiana University Southeast, New Albany, IN; Co-founder, Calliope Arts Printmaking Studio & Gallery
  • Carolyn Mckenzie-Craig, Lecturer in Printmaking, National Art School, Sydney, Australia
  • Aaron Coleman, Assistant Professor, University of Arizona, Tuscon, AZ
  • Roger Peet, President of the Board at Flight 64 studio in Portland, Founding member of Justseeds Artists' Cooperative, Portland, OR

Gallery

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Domestic Dependence, Print-based Installation Blackfoot Glacier—The Last Glacier, Reductive jigsaw woodcut Specter: Trade Your Carbon for Art, Coptic bound book, prints and print ephemera Colony, Lithograph and screen print Errors, Lithograph and screen print

Matthew McLaughlinIntersecting Methods

Intersecting MethodsThe scientific method; hypothesis, experiment, examine the results, move forward or alter a variable, is similar to the method printmakers use to create explore a new idea. This relationship has been building for the past 20 years as digital technology has been brought into the studio and integrated with professional practice. This panel will explore the intersection of scientific research and printmaking through examples of collaboration, concept, process improvement, technology integration and more. Can printmaking be expanded by collaboration with the sciences? Has it already happened? Can printmaking improve or alter scientific research through artistic exploration?

About Panel Chairperson, Matthew McLaughlin


Matthew McLaughlin

Matthew McLaughlin received his BFA degree in Fine Arts from Ringling College of Art and Design in 2007 and Design and his MFA degree in Printmaking from Arizona State University in 2011. He is a lecturer of printmaking and foundations at the University of Maryland in College Park, MD and teaches workshops on different printmaking techniques at regional print shops. Matthew has shown his work nationally and internationally and in 2013 established R&D editions, a fine art press working with artists, scientists, and engineers to create limited edition prints.

Panelists

  • Matthew McLaughlin (panel chairperson), R&D Editions, Lecturer, University of Maryland, College Park
  • Erik Waterkotte, University of North Carolina, Charlotte
  • Rob Swainston, Assistant Professor of Art+Design, Printmaking, SUNY Purchase College, Purchase, NY
    Master Printer, Prints of Darkness, New York, NY
  • Alison Dell, Assistant Professor of Biology, St. Francis College
    Associate, Department of Neuroscience, Perelman School of Medicine at the University of Pennsylvania

Gallery

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Domestic Dependence, Print-based Installation Blackfoot Glacier—The Last Glacier, Reductive jigsaw woodcut Specter: Trade Your Carbon for Art, Coptic bound book, prints and print ephemera Colony, Lithograph and screen print

Nathan MeltzThe New Print Curator

Meltz print gallery installation

Installation view of Screenprint Biennial 2014 Exhibit Arts Center of the Capital Region, Troy, NY September 2014

What does a printmaker do when they look around the art landscape and do not see the type of exhibition they want to see? They make it themselves.

This is the process undertaken by the group of artists presenting in The New Print Curator. These artists have designed and built exhibitions from the ground up in an effort to showcase a vision they were not seeing in existing institutional spaces.

These new visions included highlighting emerging artists, telling the story of underrepresented populations, to even challenging the very definition of what a print is.

About Panel Chairperson, Nathan Meltz

Nathan Meltz

Nathan Meltz is a Lecturer in the Department of the Arts at the Rensselaer Polytechnic Institute and is the founder and curator of the East Coast Screenprint Biennial.
His own work has shown internationally, at venues including the International Print Center New York, the Miami Fountain Art Fair, the IN Graafika Festival, Pärnu, Estonia, the Trois-Rivières International Printmaking Biennial, Canada, the Museum of Modern Art in Rio De Janiero, Brazil, and more. His work has been featured in the publications Paper Politics, Sociological Images, Printeresting and the Mid America Print Council Journal.

Panelists

  • Nathan Meltz (panel chairperson), Lecturer, Rensselaer Polytechnic Institute
  • Emily Arthur, University of Wisconsin-Madison
  • Joseph Lupo, West Virginia University-Morgantown
  • Sage Dawson, Washington University and Saint Louis University

Gallery

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Anne Desmet RA, Olympic Velodrome (detail), wood engraving Michael Jackson

Sarah EllisNexus of Thought: Developing a Strong Conceptual Framework
SGC International Student Panel

As an artist, it is important to identify why you make your personal body of work. You may be driven by many points of inspiration, but identifying the core concept can be very challenging. Panelists will share their experiences with how travel, education, and personal discovery have influenced their practice. This panel will focus on finding that common thread that weaves through your portfolio, how to expand upon it, and how to write about it in a well-rounded statement.

About Panel Chairperson, Sarah Ellis

Sarah Ellis headshot

Sarah received her BFA in Printmaking from The University of Akron in 2014. She is currently in her second year as an MFA Candidate in Printmaking at the University of North Texas. During her time at UNT, she has had the pleasure of assisting at P.R.I.N.T Press in addition to her Teaching Assistant appointments. Sarah currently serves as the Student Representative on the SGC International Executive Board. Through a variety of print media, her work explores nuances within the continuity of human behavior. She lives in Denton, Texas, with her fiancé and their corgi.

Panelists

  • Sarah Ellis (panel chairperson), MFA Student at University of North Texas
  • Carey Good, AS220 Printshop & Hot Noon Prints
  • Katherine Miller, University of Georgia
  • Chad Uehlein, The University of Akron Myers School of Art

Image Descriptions

  1. Sarah’s work example (Ellis_Sarah.jpg), $5 Special, Photolithography, synthetic hair, glassine, & cotton thread, 7 x 9 in., 2016
  2. Carey’s Work Example (good_carey.jpg): Ed Gein, Etching with relief roll, 8 x 10 in., 2015
  3. Katherine’s Work Example (miller_katherine.jpg): This Time, Digital print & linen thread, 3 x 5 in., 2016
  4. Chad’s Work Example (uehlein_chad.jpg): Eat Your Moldy Crust, Etching printed a la poupée on moldy paper, 8 x 8 in., 2015

Gallery

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Domestic Dependence, Print-based Installation Blackfoot Glacier—The Last Glacier, Reductive jigsaw woodcut Specter: Trade Your Carbon for Art, Coptic bound book, prints and print ephemera Colony, Lithograph and screen print

Kevin HaasStudio Operations
SGC International Sponsored Panel

How do we connect the everyday management, maintenance, upkeep, and potential expansion of print studios, with collective and pedagogical goals? How do those tasked with this responsibility strategize their needs and make persuasive arguments to administrators and granting organizations? How does the management of the facilities themselves enable standards for success, quality, and achievement beyond the classroom? This panel aims to provide relevant examples and defenses for the print studio as a multifaceted learning environment where art practice, project management, budgets, safety, and administration are all at play.

About Panel Chairperson, Kevin Haas

Kevin Haas

The prints, installations, and artist’s books of Kevin Haas depict familiar but overlooked aspects of the built environment. Since 2000, he has taught courses in printmaking, book arts and design at Washington State University. His work, writing, and other projects can be found at www.kevinhaas.com

Panelists

  • Kevin Haas (panel chairperson), Professor, Washington State University
  • Lari Gibbons, Professor and Director of P.R.I.N.T. Press, University of North Texas
  • Jill Graham, Printmaking Technician and Master Printer, Nova Scotia College of Art and Design
  • Angee Lennard, Founder and Director, Spudnik Press Cooperative
  • Nicolette Ross, Studio Manager, Spudnik Press Cooperative

Rhys Himsworth+Shift+N- Strategies of Resistance in Times of Global Flux
Southern Graphics Council International Panel

Throughout history the development of print media has been synonymous with wider social and political movements aimed at resistance and rebellion from the status quo. Looking at a diverse range of international events the panel will examine the changing nature of print media, the artists involved in these platforms and the global context they respond to, comment upon and seek to change. The panel will examine a diverse range of print media from subversive pop culture publications and political pamphlets, through to new technologies that embody the philosophy of print. The panel will also discuss a wide range of international political events drawn from the contemporary and the historical with references drawn from the Far East, South America and The Middle East.

About Panel Chairperson, Rhys Himsworth

Rhys Himsworth

Rhys Himsworth serves as Director of Painting and Printmaking at Virginia Commonwealth University's branch campus in Doha, Qatar. Here he heads up the first fine art program in the country's history and has founded Fanoon: Center For Printmedia Research, a printmaking publishing program that works with international artists in the realization of new projects that engage with print media. Himsworth has presented at The Royal Computer Society in London, served as a panel member for ‘Fast Media/Slow Knowledge’ at SGC Philigrafika, in Philadelphia, 2010, and in 2014 presented at the Arab Museum of Modern Art as part of their symposium on Art: Past, Present and Future in the city of Doha.  He is a regular panel member to art, design and education conferences including The Spectres of Evaluation in Melbourne, Australia, Design Principles and Practices, Vancouver, Canada, and the Arts and Society in Rome Italy. He has also served on panels at the College Art Association in Washington D.C. Himsworth has been a visiting lecturer at Central Saint Martins College of Art and Design and the University of Hertfordshire in the UK, The University of Sao Paulo, Brazil  and The Art Institute of Chicago in the US.

Panelists

  • Rhys Himsworth (panel chairperson), International Member at Large, Southern Graphics Council
  • Tainá Azeredo Director, Casa Tomada, Sao Paulo, Brazil
  • Lila Nazemian, Director of US projects, Culturunners
  • Isaac Leung, Lecturer at Department of Cultural and Creative Arts, Hong Kong Institute of Education
  • Sean Roberts, Assistant Professor, Department of Art History, VCU in Qatar

Georgia State University

Erin ZonaGhost Hunters: Studio Artists & Archival Research

Ghost Hunters: Studio Artists & Archival Research

Zz School students viewing prints in the KU Print Study Room at the Spencer Museum of Art with Stephen Goddard, 2014

The creative process often begins with fieldwork, both material and observational. Research acts as a departure point, a starting place from which one’s work will then emerge. This panel presents stories of discovery, artists looking at the past through the study of its physical remains held in archives, museums and special collections. Entry of an object into a collection indicates its arrival to a final resting place, leaving the world of commodity exchange, where it is valued for being useful and passing into another world, one of preservation and study. Objects within archives may be defunct or forgotten, but through research, appropriation and presentation, they can travel into new contexts.


Erin Zona

About Panel Chairperson, Erin Zona

Erin Zona is the founder of The Zz School of Print Media in Kansas City, MO. Zz School is a printmaking-focused education initiative that aims to promote print-based public art, encourage exchange between artists and the community and create opportunities for artists and educators. Zona received her M.F.A. from The Rhode Island School of Design in 2009 and is currently a Lecturer in the printmaking department at The Kansas City Art Institute.

Panelists

  • Erin Zona (panel chairperson), Founder/Director of The Zz School of Print Media
  • Noel Anderson, Clinical Assistant Professor, Area Head of Printmaking in NYU's Steinhardt Department of Art and Art Professions
  • Corinne Teed, Visiting Assistant Professor, Minnesota State University Moorhead
  • Asa Wilder, Head Librarian and Studio Technician, The Zz School of Print Media

Traci MolloyJunction of Collaboration

20 Female Survivors of Sexual Assault Digital Print on Banner

Traci Molloy and 20 Female Survivors of Sexual Assault and/or Sexual Harassment, I Am, I Will I’m Afraid (Ashland), Digital Print on Vinyl Banner, 8’x12’, 2016

When coupled, art and collaboration can generate powerful ideas and help foster change.

This panel will discuss collaborative art methodologies related to social practice, activism, and empowerment. It will concentrate on artists who work collectively with disenfranchised individuals that feel disempowered and voiceless in their respective communities and in society as a whole. It will present collaborative projects focusing on themes related to poverty, gender, race, disability justice, and environmental concerns.

The panel will also discuss approaches to undertake while collaborating, including how to: work cooperatively with partner organizations, foster an equal exchange of ideas, generate trust, and facilitate meaningful social change.

Traci Molloy

About Panel Chairperson, Traci Molloy

Traci Molloy is a Brooklyn, NY, based artist, collaborator, and activist. She’s presented her artwork in over 175 national exhibitions, including solo shows in New York, Chicago, Kansas City, and participation in the Atlanta Biennial. Molloy’s multi-media collaborations with adolescents have been exhibited in Johannesburg, Tokyo, the UN, Pentagon, and CDC. They’re the subject of two books, and have been featured on Good Morning America, NPR, and news stations in New York, Boston, Atlanta, and Washington D.C. The National September 11th Memorial and Museum owns five of her collaborations. She has directed arts-based outreach programs in Appalachia, Atlanta, and the Bronx. She lectures regularly at colleges, universities, and conferences.

Panelists

  • Traci Molloy (panel chairperson), Independent Artist, Collaborator, and Education Activist
  • Catherine James, Independent Arts Facilitator
  • Melissa Potter, Associate Professor, Interdisciplinary MFA in Book & Paper, Columbia College Chicago.
  • Michelle Wilson, Independent Artist and Visiting Lecturer, Stanford University and California College of the Arts

Gallery

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Our Lives Matter, 3 Digital Prints on Vinyl Banners A Man Can Catch You, Potato Fiber Handmade Paper What If I Were Whole, Photographic Still Rhinoceros Project, Watermark in Handmade Abaca Paper

Taryn McMahonStop Collaborate and Listen

Stop, Collaborate & Listen

Collaborative projects require artists to stop and listen before making; opportunities for new arrivals and departures emerge as ideas and materials are passed back and forth between heads and hands. How do printmakers explore other media through collaboration? How do artists without printmaking experience explore the multiple through collaboration? Printmaking has always embraced community and collaboration; artists with broadly expanded practices are using this ethos in diverse ways. Stop Collaborate and Listen aims to investigate diverse strategies for collaboration from installation, to performance, and social practice, and how they intersect with print media.

About Panel Chairperson, Taryn McMahon

Taryn McMahon

Taryn McMahon’s work imagines a future ecology in which the natural and artificial become intertwined and conflated. She has received numerous awards for her work including the SGCI Graduate Fellowship and residencies at Anderson Ranch, Snowmass Village, CO; Anchor Graphics, Chicago, IL; Women’s Studio Workshop, Rosendale, NY; and 55 Limited, Berlin, Germany. Recent solo exhibitions of her work have been shown at The Print Center, Philadelphia, PA; Lexington Art League, Lexington, KY; and William Busta Gallery, Cleveland, OH. She received her MFA from the University of Iowa and is an Assistant Professor at Kent State University.

Panelists

  • Taryn McMahon (panel chairperson), Assistant Professor at Kent State University
  • Cayla Skillin-Brauchle, Assistant Professor, Willamette University
  • Jennie Suddick, Assistant Professor, OCAD University
  • Masha Ryskin, Faculty, Rhode Island School of Design

Gallery

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Dusk, fabric, matboard, intaglio  The Tree House Project, process documentation Everything is the Truth, Artist's book Build Adapt Repeat, screen prints on cut paper and Mylar

Blake Sanders3 Minutes to Midnight

3 Minutes to Midnight

In this Age of Anxiety we hear “the end is nigh” all around. The Doomsday Clock, for example, determines humanity’s proximity to global catastrophe using scientific and political factors. For the last two years, the Clock sits at three minutes to midnight. If we can’t turn back the clock, how do we modify our behaviors and priorities to make sure tomorrow comes? Can we acknowledge complicity while promoting change? Can printmaking, a notoriously dirty, wasteful medium critique consumption and pollution? This panel features artists who employ printmaking, the original social media, to get the word out about our tenuous future.

About Panel Chairperson, Blake Sanders

Blake Sanders

Blake Sanders earned his BFA from the University of Northern Iowa and an MFA from Tulane University. He has taught art and printmaking at universities, as well as workshops at colleges and community-based art organizations around the United States. Blake is currently an instructor at Southeast Missouri State University. Sanders’ work has been part of over eighty national and international shows. Recent exhibitions include neo:print prize 2016 in Bolton, UK; Four Rivers Print Biennial; the 35th Bradley International Print and Drawing Exhibition; Printwork 2014 at Artist Image Resource in Pittsburgh, and The Bowery Gallery Annual Juried Competition in New York. His work supports environmental mindfulness by illustrating a bond between people and the natural world.

Panelists

  • Blake Sanders (panel chairperson), Adjunct Instructor, Southeast Missouri State University, Cape Girardeau, Missouri
  • Todd Anderson, Assistant Professor, Head of Printmaking Area , College of Architecture, Arts and Humanities; Clemson University, Clemson, South Carolina
  • Charles Beneke, University of Akron, Myers School of Art, Professor of Art, Graduate School, Associate Dean—Academics
  • Emmy Lingscheit, Assistant Professor, University of Illinois Urbana-Champaign

Gallery

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Domestic Dependence, Print-based Installation Blackfoot Glacier—The Last Glacier, Reductive jigsaw woodcut Specter: Trade Your Carbon for Art, Coptic bound book, prints and print ephemera Colony, Lithograph and screen print Errors, Lithograph and screen print

Savannah College of Art

Shawn VinsonBritish Printmakers

British Printmakers in the American South pays homage to the ‘special relationship’ between the UK and Georgia, which dates back to the 1850s. Atlanta art dealer Shawn Vinson and British printmakers Anne Desmet RA, Michael Jackson and Chris Pig, will discuss printmaking from that era. They’ll look at 19th-20th Century prints from the Okarma Weaver collection, procured by a family that owned galleries in Atlanta from 1952-1970 and England from 1970-2000. Contemporary prints, including works by the three panelists, will also be featured. A corresponding exhibition will take place during the conference, with time and location t.b.a.

About Panel Chairperson, Shawn Vinson

Shawn Vinson

Shawn Vinson is a dealer specializing in Contemporary Art and 18th-21st Century Prints. When the Olympics came to Atlanta in 1996, he curated a pop-up exhibition and met the late Wayne Kline of Rolling Stone Press. A friendship formed and Kline inspired his decision to showcase prints in the Decatur gallery he opened two years later with his partner, Ruth Franklin, an English painter.  Their focus on British printmakers got the attention of Printmaking Today magazine, who published a 2006 article, ‘Bringing Print to Atlanta’. Vinson continues to produce pop-up shows and work as a private art dealer and consultant.

Panelists

  • Shawn Vinson (panel chairperson),
  • Anne Desmet RA (Royal Academy)
  • Michael Jackson, Interdisciplinary artist & educator
  • Chris Pig, Artist/Printmaker

Gallery

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Anne Desmet RA, Olympic Velodrome (detail), wood engraving Michael Jackson Jean Baptiste Leprince Thomas Lupton Chris Pig

Patrick VincentCo-Terminus: Sculpture & Space Through Print

Co-Terminus: Sculpture & Space through Print

Patrick Vincent, Co-Terminus

Print-based artists increasingly work in sculptural and installation contexts—exploring the confluence between print and space. The conference title "Terminus" relates notions of beginnings and endings, but moreover it is the space we move through during these transitions. This panel embraces the way paper and print aesthetics have been incorporated into installation and sculptural forms; discussing the way print media is integrated and coterminous with physical environments. Panelists Camilla Taylor, Tonja Torgerson, and Leslie Friedman will discuss works that cut space with paper, create new graphic forms, and impress bare walls with ink and matrix.

About Panel Chairperson, Patrick Vincent

Patrick Vincent

Patrick Vincent is from Minneapolis, Minnesota. He received his B.F.A. from the University of Minnesota, Twin Cities, and his M.F.A. from Arizona State University.  He has worked for the design/letterpress workspace Studio on Fire, the Minnesota Center for Book Arts, and Pyracantha Press. Recently, Patrick has been the Assistant Professor of Printmaking at Minnesota State University Moorhead. Currently, he is the Assistant Professor of Printmaking at Austin Peay State University in Clarksville, TN and lives in Nashville, TN.

Panelists

  • Patrick Vincent (panel chairperson), Assistant Professor of Printmaking at Austin Peay State University
  • Tonja Torgerson, Print Fellow at the Lawrence Arts Center and Independent Artist
  • Camilla Taylor, Independent Artist
  • Leslie Friedman, Assistant Professor of Printmaking at Louisiana State University

Gallery

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Tonja Torgerson Camilla Taylor Leslie Friedman

 

Amanda LeeJust Visiting

Co-Terminus: Sculpture & Space through Print

Amanda Lee: Exhibition of University of North Carolina Charlotte student work, prints and printed objects, 2015

The arrival of a visiting artist can invigorate and enhance students' experiences by increasing dialogue and widening scope of instruction. In a series of case studies this panel will present approaches to the visiting artist that go beyond the demonstration-critique-presentation model. What projects in short and long-term visits are successful and which are problematic? What is the lasting impact on students after a visiting artist's departure? Presenters Amze Emmons, Nicole Hand, Amanda Lee, and Jon Swindler will discuss visiting artist formats and projects that succeed in creating meaningful student interaction.

About Panel Chairperson, Amanda Lee

Amanda Lee

Amanda Lee, a multi-media artist from Seattle, Washington is currently full-time faculty at University of Arkansas. She earned her MFA in printmaking from Indiana University in Bloomington and was the recipient of the inaugural Virginia A. Myers, Visiting Artist / Visiting Assistant Professorship in Printmaking at University of Iowa. Having spent a decade in art education at Penland School of Crafts and Pilchuck Glass School, it is no surprise that she is a dedicated teacher. She has spent the last three years working mainly from her studio in Cortona, Italy while faculty for University of Georgia's Cortona Study Abroad Program. She was also a 2015 artist in residence for McColl Center for Art + Innovation and University of North Carolina, Charlotte.

Panelists

  • Amanda Lee (panel chairperson), Instructor in the Art Department at University of Arkansas
  • Amze Emmons, Associate Professor at Tyler School of Art at Temple University
  • Nicole Hand, Professor, Printmaking at Murray State University
  • Jon Swindler, Associate Professor of Art, Associate Director for Technology, Space and Community, University of Georgia, Athens

Gallery

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Amze Emmons Meghan O'Conner (pictured in the middle) with Nicole Hand’s high school students Amanda Lee Jon Swindler

Lynn SuresPulparazzi: Working on the Road

Lynn Sures Pulparazzi

Lynn Sures, Montserrat White 4, handmade paper pulp painting, collagraph,  32 x 24 in., 2015 (photo, Mark Gulezian)

The Pulp Painting/Papermaking collective Pulparazzi works far from home. Four members will discuss the collective’s adventures on the road. Michelle Samour’s piece from a Banff residency was a turning point, developing into a solo show. Joan Hall packed up a mobile home-cum-studio, collecting plastic waste found on the Gulf shore and making paper containing the waste. Shannon Brock headed to Australia for a teaching residency, working with high school students to combine handmade paper and printmaking. Lynn Sures had residencies in Spain and Italy, adapting imagery to a new embossed pulp painting technique that evolved to a solo show.

About Panel Chairperson, Lynn Sures

Lynn Sures

Lynn Sures is 2016 recipient of the Smithsonian Artist Research Fellowship for her research in Kenya and at the Natural History Museum in DC. and retired Professor and Chair of Fine Arts, Corcoran College of Art + Design, Washington, DC. Exhibitions include “Lynn Sures: CATALUNYA” at CENTRAL BOOKING in New York; “De La Tierra” at UNAM in Mexico City; “Navigating Below the Surface” at Isik University, Istanbul. She has created works for international events in Australia, Japan, Italy, and Sri Lanka, where she visited as a U.S. State Department American Artist Abroad. Lynn recently completed a commissioned edition of woodcuts on handmade paper for the performing arts center of the University of Chicago. She is founding Director of the National Collegiate Handmade Paper Triennial, and the Fabriano Paper/Print/Book workshops.

Panelists

  • Lynn Sures (panel chairperson), Professor Emerita of Art and Design, Corcoran, Washington, D.C.
  • Shannon Brock, Hand Papermaker/Owner of Gaptoothed Studio, NYC, NY
  • Joan Hall, Professor Emerita, Washington University in St. Louis, MO
  • Michelle Samour, Faculty, Tufts University/SMFA, Boston, MA

Gallery

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Shannon Brock Joan Hall Michelle Samour John Babcock