“Of the North,” Bob Erickson, Mark Ritchie, Tracy Templeton and Ericka Walker
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.
“Viewer as Performer: Challenges and Problem Solving in Interactive Installations” with Alan Pocaro, Billy Simms, Jackie Stephens
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?
“Heritage Habitats”, Ginger Owens and Vicki Van Ameyden
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.
“Teaching Variability,” Amanda Lee, Beauvais Lyons, Erik Waterkotte and Koichi Yamamoto
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.
Collaborative Matters: From Stone Lithography Printing into Film Animation Crossing Series, 2008-2016 Organized by Endi Poskovic
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 We Talk About When We Talk About Print: Artists filtering literary, musical, and cinematic influence through studio practice”, Nick Satinover, Sarah Smelser, Ry McCullough, Edie Overturf
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.
Down the Rabbit Hole: A Printmaking Phenomenology, Abbey Kleinert
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.
“Futures in the Present: Printmaking and the Quest for Democracy in Poland”, Endi Poskovic and Aleksandra Janik
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.
“Becoming Made”, A Film and Presentation by Mary Brodbeck
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.
“Site as Matter: Printmaking and Site Building” with Taryn McMahon, Jessica Caponigro, Breanne Trammell, and Kristina Paabus
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.
“The Printmaker as Collector”, Nicole Geary and Lisette Chavez
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.
“The Postmodern Print: Practice and Pedagogy”, Johntimothy Pizzuto, Sarah Sik, Michelle St.Vrain, Kasey Prudhomme, and Mark Harrison
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.