MuleSoft Certified Developer – Level 1 (Mule 4) Exam is the validation of the candidate’s skills as a developer who has the knowledge and skills to design, build, test and debug, deploy, and manage basic APIs and integrations across Anypoint Platform to Anypoint Studio.
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Question No. 1:
What payload is returned by a Database SELECT operation that does not match any rows in the database?
D. Empty Array
Question No. 2:
What is the output type of the DataWeave map operator?
Question No. 3:
A web client submits a request to http://localhost:8081?accountType=personal. The query parameter is captured using a Set Variable transformer to a variable named accountType.
What is the correct DataWeave expression to log accountType?
A. Account Type: #[flowVars.accountType]
B. Account Type: #[message.inboundProperties.accountType]
C. Account Type: # [attributes.accountType]
D. Account Type: #[vars.accountType]
Question No. 4:
A web client submits a request to http://localhost:8081?flrstName=john. What is the correct DataWeave expression to access the firstName parameter?
Question No. 5:
What is a valid expression for the Choice router’s when expression to route events to the documenticShippingflow?
A. 0#[ payload = ‘US’ ]
B. #[ payload == ‘US’ J
C. #[ if(payload = ‘US’) J
D. #[ if(payload == “US”) ]
Selling HP Business Personal Systems Hardware 2019 is the best choice if you want a boost in your career. However, Passing HP Exams has always been a challenge. Make sure you are not staking your future on the line and choose only the best. Dumps4Free Online HP2-H88 Braindumps is the perfect resource to get you passed. And only in one attempt too.
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Question No 1:
What is the major security concern associated with company employees working to public areas offices, and how does HP address it?
A. phishing attacks, which can be available with HP Sure Click
B. visual hacking which can be prevented with HP sure View
C. virus attacks, which can be lessened with HP Sure Run
D. malware attacks, which can be mitigated with HP Sure Start
Question No 2:
How does HP meet the “everything as a service” demand of rapid urbanization?
A. with HP DaaS (Device as a Service)
B. with HP STS (Smart Technologies Service)
C. with HP CPaaS (Computing Power as a Service)
D. with HP CSaaS (Cloud Solutions as a Service)
Question No 3:
What does the HP Image Assistant Gen3 do?
A. It updates and maintains software and security settings across a fleet of PCs and HP Enterprise printers.
B. It monitors key processes, alerts both users and IT of any changes, and restarts them automatically.
C. It helps with real-time malware protection using deep neural nets.
D. It helps develop and maintain an up-to-date software image that has the latest patches and upgrades.
Question No 4:
Your healthcare customer has overburdened IT staff and inadequate IT resources, but they have a growing need to migrate their devices from Microsoft Windows 7 to Windows 10.
A. HP DaaS explanation is correct and relevant to this customer?
B. HP DaaS. which is a solution that combines hardware and premium same day support, proactive management, and services for every stage of the device lifecycle
C. HP DaaS. which is a complete solution that includes migrating from Microsoft Windows 7 to Windows 10 on all existing PCs
D. HP DaaS, which provides security and additional software to monitor the health of your PC. with reduced costs as all reporting is done automatically
E. HP DaaS. which is a complete solution that combines hardware, support, proactive management, and services for every stage of the device lifecycle to optimize IT assets and resources
Question No 5:
Which HP product has HP Sure View Gen3 as an option?
A. HP ProBook 400 G6 series Notebook PC
Microsoft Dynamics 365 for Customer Service MB-230 is for all those Customer Service Functional Consultant Associates who are responsible to perform configuration, manage cases and the knowledge base, manage queues, entitlements, and SLAs, and configure the voice of the customer.
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Question No 1:
You are a Dynamics 365 for Customer Service administrator creating surveys for Voice of the Customer. You need to create a customer service satisfaction survey and embed it on a website. Which two actions should you perform? Each correct answer presents part of the solution.
NOTE: Each correct selection is worth one point.
A. Copy the portal web link and paste it into your website.
B. Copy the URL from the Anonymous link field and paste it into your website.
C. On the Voice of the Customer survey, select Run in iFrame.
D. Copy the HTML code from the iFrame URL field and paste it on your website.
Answer: C, D
Question No 2:
You are a Dynamics 365 for Customer Service administrator creating surveys for Voice of the Customer. You must display the question: Have you used the product before? If the response is Yes, you must display additional questions concerning the product. If the answer is No, you must display a different set of questions concerning other products. You need to select a survey feature to use. Which survey feature should you use?
A. Answer tag
B. Response routing
D. List of ratings
Question No 3:
You send surveys to customers who have opened cases within the past month. You need to send a summary of the survey results to individuals who do not have a Dynamics 365 license. What are two possible ways to achieve the goal? Each correct answer presents a complete solution.
NOTE: Each correct selection is worth one point.
A. Run the summary report. Export the report to Microsoft Excel. Send the Excel file to the users.
B. Run the survey summary report. Send a link to the report from within Dynamics 365.
C. Create a dashboard of the survey summary reports and share the dashboards with the users.
D. Create a view with the data, and then email a link.
E. Run the survey summary report. Print the report to a PDF file. Send the PDF file to the users.
Answer: A, E
What does it mean to be a printmaker in an increasingly screen-based world? For centuries, prints on paper have been the primary and most accessible mode of sharing current events, ideologies, advertisements, and images. Through their work as artists, educators, publishers, and entrepreneurs, contemporary print artists articulate what prints are, and why they matter.
Whether they engage centuries-old techniques or emerging technologies, printmakers remind us that we still live in a world surrounded by print media, and that we must be conscious of the ways images convey meaning and message. The handmade, multiple nature of prints remind us of the labor of creating art.
While social and business relationships are increasingly managed online, printmaking studios create communities for emerging and professional artists to work together in real life. The do-it-yourself nature of many printmaking processes allows people to access prints in everyday places, beyond the walls of the gallery or artist’s studio.
MAPC 2016 will feature panel discussions, demonstrations, and exhibitions that span both sides of the Ohio River, with Indiana University Southeast in New Albany, IN as the conference’s home base, and the University of Louisville as an anchor in the expanding art scene of Louisville, KY.
Thursday 9:00 pm ‐ 12:00 amHOOSIER STRIKE AND SPARE, 2310 STATE ST, NEW ALBANY, IN 47150 47150
Don’t miss out on this crucial MAPC conference mainstay! Join us for bowling, pizza, salad, and a cash bar.
Saturday 2:00 ‐ 5:00 pmCALLIOPE ARTS PRINTMAKING STUDIO & GALLERY, 324 EAST COLLEGE STREET, LOUISVILLE, KY 40203
Calliope Arts is a fine art printmaking studio dedicated to engaging the growing artistic community of Louisville, increasing knowledge of innovations in contemporary print media on a national scale, and creating an atmosphere of collaboration, research, and learning. Calliope Arts provides local artists access to equipment for etching, engraving, relief, and screen printing, and opportunities for classes and exhibitions. Our gallery currently features works by more than 35 artists from across the country.
Saturday 2:00 ‐ 5:00 pmFRANKFORT CROSSINGS, 2132 FRANKFORT AVE, LOUISVILLE, KY 40206
The artists at Frankfort Crossings studios work in media as diverse as screen printing, relief, paper marbling, and more. Visit them in the heart of Louisville’s Clifton neighborhood to see their work spaces and an exhibition, “Small, Medium, and Large: Prints by Frankfort Crossings Printmakers and Friends.”
Saturday 2:00 ‐ 5:00 pmHOPE MILLS COLLABORATIVE, 954 E. KENTUCKY ST. LOUISVILLE, KY 40204
This collaboration was born out of mutual admiration and wanting to push the medium of letterpress forward. Working with exploring ideas of distance and collaboration, Brad Vetter (based in Louisville, KY) and Josh Dannin (based in Manchester, NH) are focused on combining their separate tactile approaches to contemporary letterpress. Slinging ink and cranking prints, these two artists will showcase a fresh view of an antique process, often an underrepresented category in academic printmaking, through a show of their collaborative and individual prints as well as an onsite demo. During the open studio event, Josh Dannin and Brad Vetter will be collaborating on dueling letterpresses in Brad’s letterpress print shop, a full-service letterpress print shop filled with antique wood type, lead type and presses used to crank out a multitude of gigposters and art prints.
Saturday 2:00 ‐ 5:00 pmHOUND DOG PRESS, 1000 BARRET AVE, LOUISVILLE, KY 40202
Owned and operated by Nick Baute and Robert Ronk, Hound Dog Press is a full service letterpress shop specializing in custom invitations and announcements, greeting cards, stationery, and posters designed, set, and pressed by hand. Nick and Robert met at the University of Kentucky where they both earned their Bachelor of Fine Arts degree in Printmaking. After graduating, Nick moved to New York where he worked at renowned Bowne & Co. Stationers, a unique 19th century letterpress shop.
Saturday 7:00 ‐ 10:30 pmIU SOUTHEAST HORSESHOE AMPHITHEATRE (BEHIND KNOBVIEW HALL)
Join us for a barbecue feast, music by DJ Nigel, and a cash bar at IU Southeast’s beautiful amphitheater! In the event of inclement weather, we will use the Hoosier Room.
Physical and psychological boundaries may have historical, geographic, social, or political roots. Printmaking processes cross many boundaries – from fine art to commercial, original to multiple, digital to analog, private to public. What are the ways that we approach boundaries in our own artistic processes, as well as our everyday lives? How is it that a boundary is simultaneously a limitation and a frontier? We have the option of defining boundaries as systems while also using them to outline solutions. The Boundary Lines portfolio spans both sides of the Ohio River, linking artists at Indiana University Southeast, New Albany, IN and the University of Louisville, Louisville, KY.
“Dreamland…” is a print portfolio dedicated to the nonsensical narratives created as we sleep. The portfolio is invitation only and includes artists at varying stages in their career and working in an array of locations. Participants, which include students (MFA and BFA level), professors, and studio artists, hail from Utah, Michigan, Illinois, Texas, Montana, Connecticut, Mexico, and more.
In his 1991 book “The User Illusion”, Danish science author Tor Nørretranders coined the term “exformation,” referring to explicitly discarded information. Exformation is the information intentionally left out when a communication is transferred. It’s the text not included in an infographic, the data discarded in audio file compression, the details there aren’t time for in a narrative, and the emotions that drive our actions. Despite (or because of) its lack of presence, this explicitly discarded information is crucial to the meaning of a message, and what is left out can carry just as much weight as what is kept. The “Exformation” portfolio highlights prints that engage in the tension between exformation and information, between that which we discard and what we choose to keep.
Since its inception, printmaking has been an important means of communication through visual information. After the invention of the printing press in the 14th century, printing played a crucial role in the spread of knowledge and culture throughout the world. Although life, technology, and the concept of the print have changed greatly, printmaking continues to carry traditions of collaboration and community in the ever-changing world of technology and technique. The concept of the print exchange reinforces the importance of the print to the greater art family as a way to network and diversify our means of communication. Our portfolio exchange serves not only to question the definition of contemporary printmaking, but to highlight the interaction between print and other art practices.
At MAPC 2010, Fancy Me That presented collaborative works by parent and child. Tradition and experimentation meet, collided, infused and evolved. Media and technique merged with the energy and imagination of a child. In 2016, Fancy Me This will present new work by printmakers and their children. As educators and image makers, the relationship that we have with our children matters. What better way to create a community than to include the youngest of us?
The physics, psyches, folks and dramas of waterways. As humans we are 80 percent water. How do its interior currents power our bodies, stories or layers of synesthetic memories? The making of any art is like the path of a river, always in movement, always adjusting: powerfully in flow. Concurrently, Louisville is known for its long history as a river town. Years ago, the Falls of the Ohio, located in Louisville, necessitated the pausing of boat travel to circumvent the falls by land for river passengers and goods. This area of the falls has revealed 390 million year old Devonian fossil beds, among the oldest in the world. Who, (persons, animals, hydropower architectures) may dwell along rivers or flooded outposts, or travel in waterways. The prints included in Hydraulicks – Tales of River Rats dive into fluidities affecting our tales.
In the Round references shape and form in two and three dimensions as well as a type of experience. Artists are asked to use this phrase as a shared reference for this portfolio exchange.
The Little Free Print Exchange engages local printmakers from Louisville, Lexington and the Bluegrass region of Kentucky to interpret the theme of “community” through a variety of traditional and alternative print media. Modeled after the spirit of Little Free Libraries, three small “houses,” constructed through workshops and by community volunteers, will be used to hold a set of prints that can be viewed as a contained exhibit, like a book while simultaneously encouraging visitors to “take a print, leave a print.” After acting as vessels for the print exchange, the little houses will have a second life as Little Free Libraries in small communities without a public library.
An International Mezzotint Portfolio has been accepted for exhibition at Frogman’s Print Workshops for their 35th Anniversary Celebration. The portfolio consists of the work of fifteen mezzotint printmakers from seven countries. All have been active participants in the International Mezzotint Society exchange portfolios and / or the International Mezzotint Festival, a biennial exhibition held in Yekaterinburg, Russia, and active artists in their own regions and countries.
Nexus is an invitational portfolio that questions intersectionality of drawing with printmaking. A “nexus” is defined as a connection or a series of connections that links people, places, and/or things. These connections must lead to a concentration – a center. Working from direct observation teaches an artist how to make decisions, organize parts to create a whole, and can remain a constant tool utilized in a studio practice. This portfolio invites printmakers who show a significant attention to the language of drawing and observation – however representational or abstracted the print may be.
“Of Rules and Rebellion” explores ideas of containment, control, and restriction. Investigating their relationships to the systems in which they are engaged with and often simultaneously engulfed by, the participants consider parameters of physical and psychological spaces, while questioning boundaries, expectations, and rules. Relating to the conference theme, this group of artists all define components of their creative practice through the history, culture, traditions, and possibilities of printmaking. Through repetition, reinterpretation, process, and the multiple we examine the systems constructed by both individuals and societies, and perhaps expose the sometimes hidden fractures along the way.
Play matters. As makers we celebrate experimentation in our studio practice. Inserting rules or playful parameters into the experience invigorates and challenges our creative process. There is a long history of artists working with rule-based systems for art making. For this portfolio participants will draft a rule set (three rules for making). The rules will be submitted to the organizer. The organizer will re-distribute the rule set to another participant. Abiding by the rules given to them, the participant will create an edition of prints specifically for the portfolio exchange. The interpretation of the rule set is up to the maker. The portfolio will cultivate collaboration, experimentation, inventiveness, and the opportunity to play by the rules.
Printmakers have a long history of reinventing and paying homage to images and artists of the past. Contemporary print artists, either through centuries-old techniques or emerging technologies,use the multiple nature of prints to remind us of the importance of the history of “Master Artists” and their images to inspire and educate us today. Our shared historical past, help shape us and influence how we see the world. The advent of today’s social media which enables artists to instantly access information and art of the past or share their most recent creations with a wider interconnected world only enhances the contemporary printmaker’s ability to reinvent and share their art.
As artists-in-residence at RedLine Milwaukee, we work with a variety of other makers, mentors, staff, volunteers and visitors who move through our shared printshop, studio, and exhibition spaces. RedLine is an urban community studio and gallery, and we seek to make our facilities and artwork accessible to a diverse array of people from across the city and surrounding areas. This portfolio will include works from artists throughout the RedLine community in order to capture the breadth of practices and artistic voices that advance our mission of promoting social justice through outreach, education, and the creation of contemporary works of art.
Indiana is home to one of the 20th century’s most prolific American writers, Kurt Vonnegut. This exchange portfolio, curated by Jason Scuilla and Jolynn Reigeluth, celebrates the life, work, and legacy of Kurt Vonnegut through the medium of printmaking. Mr. Vonnegut’s brilliant satire and shameless support for the arts continue to resonate with artists of all kinds, nine years after his death. This portfolio will feature artwork by twenty printmakers from across the United States that celebrates the work of Kurt Vonnegut, and the bizarre realities of being human that have resonated with them through his writing.
In an increasingly screen-based world, recent studies show print is valued and offers a different experience. Although digital devices provide many options and conveniences, they lack the sensory aspects that prints on paper can fulfill. With print, the characteristics of the paper and special printing techniques affect the way people perceive the value of the content as well as how they interact with it. In this portfolio, participants will investigate how prints can activate the senses while considering why they are still relevant to contemporary culture. Through embellishment, texture, detail, optical illusions, pop-ups, and other special effects, this group of artists will exploit print’s unique potential.
In Latin, surgere means “to rise” or “spring forth” as in the beginning of an outgrowth of a plant rising from the soil at the dawn of Spring. The theme for this portfolio exchange is Surgere. In view of Print Matters Printmaking Matters, participating artists are asked to analyze the source, motivation, or the cause behind their print creations and how it has helped them “to rise” as an artist. This portfolio exchange aims to not only promote community among individuals yet also trace the source of our beginnings in printmaking and why it continues to matter.
“Since 1912 Cracker Jack boxes have included a small “mystery” surprise in each box. Miniature books, decoder rings, temporary tattoos, stickers and baseball cards could all be found in the depths of the crunchy caramel popcorn treat. As early consumers grew into adulthood a substantial collector’s market developed; these activities are documented in numerous books, articles and more recently through Etsy and EBay websites. Contemporary box prizes have evolved greatly from their nostalgic roots: today’s boxes often feature cardcode designs used to redeem play on online game applications. This portfolio asks participants to explore the fun, kitschy world of the Cracker Jack prize which has been a part of the childhood sweet-tooth for over a century.”
While the Midwest is known for its printmaking, the art of print is present and thriving all across the United States. This portfolio will aim to bring to light the printmaking scene of the North East by showcasing artists from some of the regions seasoned printmakers as well as up-and coming artists in the field. While miles may divide us, the language of print connects us in ways greater than proximity. Although where we live may affect our technique or imagery, we exist as a whole, as a community, and this portfolio will showcase both our differences and our connections. Through this selection of prints by current working artists from the far corner of the nation, viewers will feel that bond that distance cannot quell, bringing a taste of the North to the West.
Labour, time, process, and play are all words we use as printmakers to frame and define what we make as artists. More and more, the term maker is used when artists speak about their own work, whether as a way to honour the process or address the value and amount of time. With this exchange portfolio we seek to address the embedded qualities of labour within print media; how different artists interpret work, time, and forms of labour; we are interested in all its iterations. Whether it is time spent planning, reflecting, preparing an image, printing, physical and mental exertion, or post printing manipulations, labour shapes the way work is produced, perceived, and related to.
For this print exchange I invite each printmaker to create an edition of prints that is in response to bell hooks’ recent book Appalachian Elegy. bell hooks was born in Hopkinsville, Kentucky and today is cited as one of the national leading authors, activist, feminist, teacher, and artist. In Appalachian Elegy, bell hooks continues her work as an imagist of life’s harsh realities in a collection of poems inspired by her childhood home of Kentucky. The book contains 66 beautiful written poems that are descriptive, dark, and meditative, exploring the power of place and self. I ask that artists make a print that is inspired by a single poem or the book as a whole, combining this inspiration with their own unique mark and voice as an artist and feminist.
This portfolio addresses the idea of nurturing and maintaining the self by connecting to different communities. The idea for this portfolio came about during a printmaking workshop at the California State University in Fresno. As they worked, Mario, Matt, and Sarah began to unravel and explore the intersecting paths that connected them through colleagues, mentors, programs, and students. With crisscrossing visual narratives, this portfolio explores the inter-connectivity of the printmaking world and the long history of pictorial narrative in printmaking. The hand made prints for this exchange will allow the participants to graphically articulate where each of us stands in relationship to each other, the beauty of the democratic quality that prints have, and celebrate the passion/labor each of holds to in our separate but overlapping studio practices.
7:00pm – 8:00pm STEM CONCERT HALL
Carmon Colangelo is Dean of the Sam Fox School of Design & Visual Arts and a E. Desmond Lee Professor for Collaboration in the Arts at Washington University in St. Louis. Carmon’s work has been featured in group exhibitions in such places as Canada, Argentina, Korea, Italy, Mexico, Puerto Rico, England and across the United States.
Carmon’s prints have been selected for inclusion in numerous permanent collections such as the National Museum of Art, Washington, DC; the Whitney Museum of American Art, New York, NY; Bibliotheque Nationale, Paris, France; Museo National del Grabada, Buenos Aires; Fogg Art Museum, Harvard University, Cambridge, MA: and Arches-Rives Paper and Ink Collection. His work has been featured in more than 25 solo exhibitions, and he has conducted over 45 workshops. He is represented by the Bruno David Gallery, in St. Louis, MO.
Prior to coming to Washington University in 2006, Carmon served as a Director and Professor of Art at the Lamar Dodd School of Art at the University of Georgia, Athens, GA for nine years. He also held academic positions at West Virginia University, Morgantown, WV as a Chair and Professor of Art in the College of Creative Arts (1984-1997).
He received his Master of Fine Arts (MFA) in Printmaking from Louisiana State University, Baton Rouge. With a lifelong commitment to education and process, Carmon has continually shared his knowledge and passion for innovations in the medium, including pushing the boundaries of large format prints and mentoring future print educators in the graduate program at Washington University in St Louis.
8:00pm – 10:00pm BARR GALLERY + OGLE CENTER LOBBY
Deborah Maris Lader is an artist, educator, musician, and performer, and has led a distinguished career as an artist and as founder and director of the Chicago Printmakers Collaborative (CPC). Since its opening in 1989, the CPC has provided emerging and professional artists access to a shared workspace, as well as opportunities to participate in exhibitions and teach classes. The CPC recently celebrated its 25th Anniversary as the longest running independently-owned print shop in Chicago.
She has exhibited her work both internationally and throughout the US. Her work is in collections such as the New York Public Library, NY; the Chicago Historical Society, Chicago, IL, American Artists of the Bookplate, Artrain, and the City of Palo Alto, CA. She received her MFA in Printmaking from Cranbrook Academy, and her BFA from Cornell University in Printmaking. She also studied printmaking at St. Martins School of Art in London, England.
Studios like the CPC, founded and managed by printmakers, exist outside of academia and provide vitally important learning experiences and professional development opportunities for emerging artists as they learn to navigate and manage their own artistic careers. As more and more young printmakers choose to pursue the creation of community-based workshops or CRT-450 dumps, it is significant to recognize an artist and mentor who has built a successful printmaking career in the private sector.
The CPC’s structure and scope, as well as Deborah’s openness to share her experiences, has served as inspiration and guidance for the formation and success of other emerging print shops around the country. Deborah’s contribution to the work of so many artists, both in their artistic growth and pursuit of entrepreneurial endeavors, makes her truly outstanding.
PORTLAND MUSEUM IS OPEN 10AM-5PM ON SATURDAY, OCT 8 2308 PORTLAND AVE, LOUISVILLE, KY 40212
Carrier Pigeon is a quarterly publication that features illustrated fiction and fine art from a myriad of disciplines. Imprint celebrates the five-year anniversary of Carrier Pigeon and features fifteen prints from staff and artists who have supported the magazine. Ranging from lithography, mezzotint, etching, and silkscreen, Imprint demonstrates a variety of contemporary printmaking techniques, with all work created in the past five years.
IU SOUTHEAST LIBRARY
IUS Printmaking Alumni looks at the traditional print formats that were being created in the early 80’s when Printmakers Susan Moffett and Brian H. Jones were newly hired faculty in the Fine Arts Department. Before Moffett and Jones retired as Emeriti Professors, they would mentor a diverse group of students. While the time-tested traditional printing techniques have continued to be explored, the non-traditional sculptural prints featured in this exhibition show the experimental growth of the program over the years.
OGLE CENTER LOBBY
Printmakers from around the world were invited to send prints, which were sewn together in a hive quilt, creating a treasury of narratives in a giant installation.
Wednesday 8:00am – 10:00pmBARR GALLERY AND OGLE CENTER LOBBY
“If you visit my personal studio at the Chicago Printmakers Collaborative, you’ll notice the work is varied, but clearly that of a person in love with printmaking. As I draw on plate and stone, burn images onto screens or carve into wood, I let the process of making guide me where it wants to lead, and I’m often surprised by the resulting messages and visual information. Why did that shark just hop onto my stone? Why does a girl have a hole in her chest? Why did I just draw a slingshot and a heron on the same etching plate? With reflection, I realize that these images are derived from both dreams and life, brought to light by ink and and endless hours of hard work.”
Thursday 6:00 ‐ 8:00 pmCARNEGIE CENTER FOR ART AND HISTORY, 201 E SPRING ST, NEW ALBANY, IN 47150 47150
Thursday 7:30 ‐ 9:00 pmARTS COUNCIL OF SOUTHERN INDIANA, PAT HARRISON ART GALLERY, 820 EAST MARKET STREET NEW ALBANY, IN 47150
Journey represents a physical and mental passage for me. Each of these boxes or containers had a previous purpose/intention before somehow they were presented in this exhibition. In most cases, each of the BX is created for a specific person, some knowingly while others are oblivious.
Friday 4:30 ‐ 6:00 pmSCHNEIDER HALL GALLERIES: BELKNAP GALLERY, UNIVERSITY OF LOUISVILLE
A few years ago, artist/printmaker, Susan Goldman, created a project titled “Midwest Matrix” to begin to document and preserve the history of post-WWII printmaking in the Midwest. In the same post-WWII period, the University of Louisville established the Hite Art Institute and with the support provided the generous endowment provided by Allen and Marcia Hite aggressively began to expand its teaching collection of works on paper, particularly prints. It quickly tapped into the forming network of institutions teaching and exhibiting prints. “Mentors and & Friends” surveys and examines this Midwestern printmaking community as seen through its collection.
Friday 4:30 ‐ 6:00 pmSCHNEIDER HALL GALLERIES: GALLERY X, UNIVERSITY OF LOUISVILLE
Noted painter/printmaker Steven Sorman was an invited artist in Indiana University’s Echo Press several times in the mid-1980’s and early 90’s. During these visits in collaboration with master printer, David Keister, he created a number of remarkable editions. In 2013, Rudy Pozzatti, retired managing director of the now closed press, donated his impressions of the Sorman prints completed during these residencies to the Hite Art Institute’s art collection. The Hite Art Institute presents “Steven Sorman: What Sticks to the Wall” an exhibition that is a grateful acknowledgement of the Pozzatti gift both as an historical reminder and contemporary challenge to Mid-America Print Conference regarding the importance of creative endeavor that expands possibility of personal expression.
Friday 5:00 ‐ 7:00 pm849 GALLERY, KENTUCKY COLLEGE OF ART AND DESIGN, 849 SOUTH THIRD STREET LOUISVILLE, KY 40203
Since its inception, printmaking has been an important means of communication through visual information. Although life, technology, and the concept of the print have greatly changed, printmaking continues to carry traditions of collaboration and community, in the ever‐growing post‐digital world of the 21st century. We are inviting national and international artists pulled from our chosen “extended family networks” to join us in exploring what a print is in the post‐digital age.
Friday 5:00 – 8:00 pmART SANCTUARY, 1433 S SHELBY ST, LOUISVILLE, KY 40217
The print links a focused action of marking, an imprint or commentary, with the traces that the action leaves behind on material surfaces. The impression is the lasting effect – the indelible evidence that can be read by others not present. Inspired by the “readings” of science and the systems around us, this exhibition presents works by Deborah Cornell and Barbara Putnam that examine the active human imprint on the tactile environment, and the traces it leaves. The exhibit will include digital prints on paper, cloth or transparency, and relief prints on fabric and paper.
Friday 5:00 – 7:00 pmGALERIE HERTZ, 1253 S PRESTON ST, LOUISVILLE, KY 40203
The show will feature current students and recent graduates from the University of Louisville’s Printmaking Program. The time and dedication that these artists put into their work helps prove that “Print Matters, Printing Matters.”
Friday 5:00 – 8:00 pmJEFFERSON COMMUNITY & TECHNICAL COLLEGE – KRANTZ ART GALLERY, 116, CHESTNUT HALL, 110 W. CHESTNUT ST., LOUISVILLE KY 40202
Then and Now is an exhibition of nine senior artists almost or recently retired from teaching showing one recent print and another created during mid-career. All have had major careers in the field. It will show how their work has changed in perhaps in 15- 20 years for each artist, both visually and technically, as our field and the world have been so dramatically transformed. They truly demonstrate that print matters.
Friday 5:00 – 7:00 pmMCGRATH GALLERY, BELLARMINE UNIVERSITY, 2001 NEWBURG RD, LOUISVILLE, KY 40205
Among the most persistent forms of printed matter in the public sphere, signage may well be king of the mountain. The artists in this exhibition use both traditional and innovative approaches to printmaking to explore the ways in which printed signage in its various forms reflects the values of a consumerist society, physically dominating the built environment, conferring authenticity and authority, codifying desirability, and blurring the lines between the personal, the economic and the political.
Friday 5:00 – 9:00 pmPAUL PALETTI GALLERY, 713 E MARKET STREET LOUISVILLE, KY 40202
Presented in conjunction with the Mid America Print Council Conference, the University of Louisville and IU Southeast, this exhibit explores the use of photographic processes and imagery in traditional printmaking media such as intaglio, lithography, and screen printing.
Friday 6:00 – 9:00 pmFIRST BUILD, 333 E. BRANDEIS AVE. LOUISVILLE, KY 40208
Traditional printmaking is process-oriented. It relies on a series of intricate steps carried out by a printmaker to create an image. Similarly, computer-incorporated creation relies on preset methodologies from a computer for output. In their artwork, these three emerging artists undertake complex processes to combine both print and digital technologies. Each artist walks the line between what is purely mechanical and what is innately human.
Friday 6:00 – 9:00 pmFLAME RUN GLASS STUDIO AND GALLERY, 815 W MARKET ST, LOUISVILLE, KY 40202
This exhibition features work by Johnny Gordon, Brandon Smith, Devin French, Brad Vetter, and Hayden Wilson. The exhibit will portray a variety of printmaking applications on glass including powder print on blown glass, screen printing with glass paints and silver stains, and stenciled frit fired onto glass.
Friday 6:00 – 9:00 pmGREEN BUILDING GALLERY, 732 EAST MARKET STREET, THIRD FLOOR, LOUISVILLE 40202
Of the North is an exhibition of six artists from the United States and the United Kingdom. Their work embodies a strong sense of place through their curiosity and understanding of how concepts associated with “the north” have shaped their lives and artwork. To view their journey is important to all of us in the printmaking community and especially true for younger artists whose path is only beginning.
Friday 6:00 – 9:00 pmHUFF GALLERY, SPALDING UNIVERSITY, 853 LIBRARY LANE, LOUISVILLE, KY 40203
This exhibition includes artists whose studio practice includes the use of hair as a physical component or thematic exploration. Hair as a representation of the feminine has been used as a symbol of identity, freedom, and class. It is both a symbol and a material connected to contemporary feminist practice. Whether a representation of physical identity, cultural costume, political narrative, scientific exploration of genetics, or familial connection, these artists use hair to create sensuous surfaces, veils and textures that call attention to the human condition.
Friday 8:00 ‐ 10:00 pm21C MUSEUM HOTEL, 700 WEST MAIN STREET LOUISVILLE, KY 40202
For centuries, prints have been a means to illustrate, define, and share scientific findings, political ideologies, and cultural norms. In Interventions: Re‐framing the printed image, contemporary artists appropriate, intervene upon, and reinvent printed images to reveal new interpretations of their impact and agency in our times.
Saturday 12:00 ‐ 2:00 pmPAT HARRISON FINE ARTS + DESIGN GALLERY, IVY TECH GALLERY, 8204 HWY 311 SELLERSBURG, IN 47172
Saturday 2:00 ‐ 5:00 pmKAVIAR FORGE AND GALLERY, 1718 FRANKFORT AVENUE (REAR), LOUISVILLE, KY
IU SOUTHEAST, KNOBVIEW HALL, SPACELAB
Brick Myth is inspired by Persian pleasure-pavilions: ornate, paneled tents pitched outdoors for entertaining and gathering. This tent utilizes ornamental patterns based on rescued 19th-century ornamental brick. The National Building Arts Center, a conservatory in Sauget, Illinois, houses more than 40,000 ornamental bricks in hundreds of designs and served as a study center for the tent. During the 19th and 20th centuries, Saint Louis was an epicenter for the manufacturing of building materials, and much of the face and ornamental brick found in major US cities originated in Saint Louis.
“Inspired by Halloween season and the looming 2016 election, Digital Corpses: A Halloween and Election Season Spectacle is a live manual and digital exquisite corpse where physical prints are created by participants and fed into the computer to create digital gifs. These animations will be projected live or later at an evening or outdoor event.”
This demonstration will reveal Lichliter’s method for printing lithography on wood, a dynamic process that allows for unique aesthetic, green printing and inexpensive access. Being a largely new process to the United States, the process is still rooted in experimentation and beckons brave and innovative practitioners.
“Learn how to create a rich, dimensional, and full color photographic prints using beeswax and cold wax medium toner transfers. This adaptable process lends itself to collage, artist books, as well as large-scale print installation.”
Hot stamp foil adds an unmatchable luster and light to prints and other 2D art works; it adds movement as well as innumerable colors textures and patterns to enhance an artist’s work. This demonstration will review ways to work with foil in print shops with access to hot plates, or even at home with a standard iron. Foil Imaging is a relatively new to printmaking, however, the attention grabbing vibrancy and palette variety allow an artist to add details that have potential to compete in modern and ever changing visual culture.
Using photocopies or laser prints as a matrix is a cheap, fast and effective means of printing images lithographically without the need for litho stones, aluminum plates, solvents, acid or even a press. This method is excellent for creating lush and layered monoprints, as well as a quick way to transfer images to canvas, wood, or even etching plates. What’s more, images can be printed on a variety of surfaces, including three-dimensional objects. This demonstration will show how to create images work best with the process, how to process the paper plates, inking techniques and printing images on two and three-dimensional surfaces.
Many printmakers are just lucky to have access to the traditional process, let alone photomechanical techniques. As products’ chemistry change or become unavailable, we are slowly adapting to keep alive the parts that are important to our studio practices. Matthew Hopson-Walker will demonstrate screen printing a lift ground solution onto a copper plate to demonstrate an accessible to use print’s power as a natural meeting place for photographic images and autographic mark making.
A community art project giveaway that the University of Iowa student print group periodically does at various events with the public. The project is based upon the surrealist parlor game commonly called the exquisite corpse. Participants choose a “head,” a “body,” and “feet,” which is printed upon their choice of digitally printed backgrounds. The project is designed to introduce and educate the public about fine art printmaking.
With the recent availability of Cape Fear Press’s Dragon and Phoenix tissues, the process of photogravure is starting to experience a renaissance in both the printmaking and photography communities. Many artists that have begun to use the tissues have done so in a traditional approach, it is necessary for artist to use this technique in tandem with new technologies and approaches. This demonstration will include a technical introduction to the process through examples of the tissues, films, and plates but focus on how Photoshop and Illustrator can be employed to produce color separations and digitally composed and drawn imagery to create multi‐plate prints then explore how the same plates can be used to create monoprints and multiples for use in large scale installation works.
Linoleum etching produces marks in relief or intaglio without the use of gouges that has a unique visual quality and aesthetic value. Linoleum etching can be used as a stand alone process, or used alongside traditional carving method for artists who want to achieve textures and details in their prints that may not be possible with carving alone.
Screenprinting has been criticized for producing images that are “too flat” or “too digital”, some even consider it a “lesser” printmaking technique. This demonstration will introduce a method that can help artists overcome the inherent flatness of the process and will show naysayers that screenprinting can still capture the artist’s hand. While it affords the user a new range of possibilities, watercolor and graphite screenprinting also maintains the user-friendliness of the process that so many of us love.
Paper made from weeds, invasive plants, farming by-product and recycled materials could be a solution to many ecological and economical problems the world is facing today. Along with being a sustainable practice, using fiber that was sourced locally can also contribute to artwork conceptually by creating a connection between subject and place.
This demonstration will focus on pulp painting using many thin layers of finely beat cotton fiber on a base sheet made from local plants. Overlapping and mixing pigmented fiber will create atmospheric, watercolor-like papers, which can be used for printing, drawing, or bookbinding. Demonstration will also include stenciling, masking, and inclusion techniques, which can be used to achieve results similar to monoprinting and collage.
Interactive, hands-on event for conference attendees to create one or more dimensional print work samples using recycled prints. Learn strategies for designing an intentional dimensional print and ways to fold, cut, glue and bend prints in a variety of ways.
The human body is the original printing matrix. What lithographer hasn’t, at one time or another, felt the overwhelming desire to mash their face against a stone and print off an awesome edition of smooshed face images? Utilizing safe, easily-obtainable substances such as soap, petroleum jelly, and makeup, Morgan Price will demonstrate a process that utilizes the subtle characteristics of skin while combining with traditional markmaking tools, and leaving precise impressions on the stone surface.
This silkscreen project continues through the day. This project will involve multiple techniques that can be applied to screen printing such as digital processes, relief printing, collage, and ink jet. The silkscreen medium easily accommodates larger format print, collage and ink jet
This demonstration will show how to etch plate glass and use it as a printmaking matrix for intaglio with a hard ground and glass etching cream found at hobby stores.
Printmakers constantly investigate printmaking methods to stretch traditions into contemporary contexts. Undoubtedly, many evolutions are made during the DIY process, as well as those that cross multidisciplinary boundaries among media. This hands ‐on demonstration of how to make small print ‐based, three‐ dimensional cast objects in paper and plaster will share the surprising details of etched lines and carved images expose extra dimensionality onto the surface of cast materials.
Dan Welden, a pioneer of the alternative polymer printmaking techniques, will demonstrate and explain the new ’safer’ Solarplate process. He will demonstrate processing and printing with his simple approach using unique and original methods of inking and printing.
In this demo, Iron Frog Press claims its Print Frog® is the best baren available. Printmakers will have the opportunity to compare different styles of barens side by side and decide for themselves.
Join artist Hayden Wilson in the University of Louisville’s hot glass shop as he demonstrates his screen printing process with glass powder. Hayden Wilson grew up in the Mountains of Western North Carolina. He received his Bachelor of Fine Arts with a concentration in sculpture from the University of North Carolina at Asheville. As a second generation glass maker, he has been around glass his entire life, but working professionally as a glass blower and caster for the past six years.
Learn to create photo-mechanical intaglio plates with no specialized equipment, emulsions, or darkroom. These etchings wield quality photographic results, but in a fraction of the cost, time, and toxicity.
In his essay, A Sense of Place, William Stenger refers to Wendell Berry’s famous quote, “if you don’t know where you are, you don’t know who you are.” I often told my students that the better you know yourself, the better you will understand your artwork. Part of this intense introspection is to know where you come from—developing a sense of place. The six established artists in this exhibition embody this sense of place through their curiosity and understanding of how concepts associated with “the North” have shaped their lives and artwork.
From the changing relationship between printer and artist, artist and audience, to revolutions in materials, tools and techniques, for the past century and a half, flux has been printmaking’s only constant. When creating immersive, print-based installations, the artist shifts the context of the audience member from the role of the passive observer to that of active participant. This panel will explore the rich spectrum of these issues including: How does the artist inform the viewers of their role? How does the process of printmaking inform and forecast the use of other media? How does the use of multiple media, including sound, complicate the process of artist, viewer, and performer, and at what point does the performer become fartist, and vice versa, in an installation piece?
As visual artists, Ginger Owen and Vicki VanAmeyden have been collaborating since 2006. In this presentation, they will address their respective student collaborations, individual works, and ideas surrounding collaboration. These include combining photographic and printmaking practices; creating community in post-secondary curriculum and artistic practice; highlighting individual works that serve as a substance for collaborative works; sustaining an artistic and professional relationship.
Historically, the repeatability of prints has been central to their function. Repeatability is a legacy of the print’s industrial, commercial, scientific and political history, and continues to be valued by many printmaker’s today. Breaking from this premise, this panel seeks to examine the ways that variability in print media can be an intrinsic asset for the education of art and design students. Making a consistent edition of prints, while having value in terms of learning the craft of printing, often limits their opportunities to explore and learn from uses of color, sequence and imposition. This may be especially true in the formative stages of a student’s development. Panelists discuss ways that emphasizing variability over repeatability can increase learning outcomes for students, and foster opportunities for formal, technical and conceptual experimentation and growth.
This panel will present the collaborative work in analog lithography and film animation between American printmaker Endi Poskovic and Canadian master printer Jill Graham. Spanning the period of eight years of active collaboration, Poskovic and Graham will discuss the Crossing Series and their transnational engagement, challenges and opportunities related to the production of over 20 individual projects created at the Open Studio Toronto, Ontario, NSCAD University print studios Halifax, Nova Scotia, as well as in print studios in the USA, Belgium and Poland.
What are the forces that drive one’s studio practice? While we define ourselves as artist-printmakers, we must be aware that our studio practices are linked to what surrounds us and what has come before, not just in terms of art history, but also popular culture, entertainment media, fiction, and philosophy. This panel assembles a group of artists whose work draws inspiration from literary, musical, and cinematic sources as a way to discuss the importance of tangible influence in our age of the ethereal and instantaneous.
As visual communication becomes increasingly mediated by screen‐based technologies, what motivates a person to create something by hand and what are the intellectual and cognitive results of that process? The panel will share qualitative research that looks at the phenomenon of hands‐on making through the lens of printmakers. The research presented describes the knowledge of printmakers and introduces a model for the intellectual processes of hand-making. It compares and analyzes the lived experiences of printmakers and uses creativity theory and cognitive science to describe how printmakers think. Panelists will discuss their own processes and experiences in response to research findings and weigh in on the implications of the study – that the process of making can be considered a research methodology or mode of education.
Polish printmaking and graphic art in the post World-War II period can be viewed symmetrically with the activities associated with the Krakow International Print Triennial, the longest running open-call international contest in the field. They both display a tremendous mix of creative experimentation and technical innovation in the field of printmaking, and perhaps, more importantly, a conscious, systematic engagement of Polish printmakers and educators with the larger international community of artists. As such, they present a particularly important case study about art and culture in Poland in the second half of the 20th-century because they suggest democratic discourse through art and intimate the radical political and social reforms which are to come following the Solidarnost strike and subsequent elections in 1989. This joint presentation by American artist and educator Endi Poskovic and Polish artist and educator Aleksandra Janik will examine the period of the 1960s in Poland, during which artists and educators organized invitational and juried exhibitions of prints as a way to define the necessary framework for transformative political process and democratic reforms, which are to come much later in the larger political arena. With this in mind, the panelists will contextualize the existing political and cultural climate both in Poland and throughout Europe, and attempt to draw parallels between the current tendencies in printmaking and how they may relate to the activities of 50 years earlier.
In 2011, woodblock printmaker Mary Brodbeck picked up a new tool – a video camera –and for the next three years, found herself immersed in the process of filmmaking. Envisioned to be a how/why film, Becoming Maderesulted as an award winning 35-minute documentary – illustrating the hands-on printmaking process of mokuhanga while making inquiries into the nature of creative fulfillment.
When building a project on-site, the artist must remain flexible and in the moment – open to the unexpected and willing to collaborate with external forces inherent to the location such as the local community, weather, or process. “Site-specific” has come to encompass a wide range of artists and working methods – what does it mean to create site-specific work and how is it defined today? By getting off the screen and often off the gallery wall, these artists weave their artworks into larger artistic and cultural concerns of placemaking, performance, and social practice. This panel will bring together 3 interdisciplinary artists to discuss their historic and contemporary influences in relationship to their site-specific projects. Each artist will speak to how s/he collaborates with sites, and sometimes local communities, to create projects that are inextricably tied to their environment and locational identity.
Printmakers are primed to be in tune with the act of collecting. We are known to work in series, creating images that can be thought of as multiple originals. In much the same way, a collection of objects can be compared to these multiples, as the gathering of a certain kind of item reflects differences and unique variables within a genre. Not only is one able to acquire a wealth of prints as a printmaker, but one can also acquire a wealth of objects as a collector. In some cases, those “object collectors” happen to be printmakers. The satisfaction of creating and collecting multiples is a trait that we wholeheartedly understand. The printmakers that we have chosen to highlight in this panel have a need to fulfill that repetition and pattern in their personal spaces. What do these different collections say about the work, and how do they reflect or reveal the way we tell our own unique stories? In our interviews and investigations, we hope to better understand our printmaking community and how they interpret their concrete and collectible surroundings in a digital world.
Gain new insights into the relevance and importance of contemporary printmaking through the panel discussion between a maker/teacher, an art historian, a gallery director/printmaker and a graduate printmaking student.