“Boundary Lines” Organized by Susanna Crum and Rachel Singel
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…” Organized by Sage Perrott
“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.
“Exformation” Organized by Katherine Miller
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.
“Extended Family, Once Removed” Organized by Autumn Wright, Matthew Batty, and Andrew Trusler
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.
“Fancy Me This” Organized by Shelley Gipson
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?
“Hydraulicks – Tales of River Rats” Organized by Rosemarie Bernardi
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” Organized by Qian Zhao
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.
LITTLE FREE PRINT 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.
“Mezzotint Matters” Organized by Linda Whitney
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” Organized by Micah Zavacky
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” Organized by Kristina Paabus and Jessica Caponigro
“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: Play by the Rules!” Organized by Johanna Paas
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.
“Prints Matter, Master Mimics” Organized by William Greider
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.
“RedLine” Organized by Cynthia Brinich-Langlois
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.
“Sateen Dura-Luxe: an Exchange Portfolio in Honor of Indiana Born Author, Kurt Vonnegut” Organized by Jason Scuilla and Jolynn Reigeluth
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.
“Sensory Overload” Organized by Alison Filley and Ellie Honl
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.
“Surgere” Organized by Wendi Valladares
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.
“SURPRISE INSIDE: It came in a Cracker Jack Box” Organized by Kit Leffler & Christa Dalien
“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.”
“The North East Arrives in the Mid West” Organized by Kristin Horan
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.
“Useful Work vs. Useless Toil” Organized by Mark Laurin & Neah Kelly
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.
“Visual Elegy” Organized by Nicole Hand
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.
“Title: You! Me! Them?” Organized by Matt Hopson-Walker, Mario Kiran, & Sarah Marshall
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.