2nd Round
Calls for Participation

The following events are open for applications for participation. To support a broader range of voices, you are asked to participate in a maximum of 1 panel and 1 portfolio exchange (ie if you apply and are accepted to multiple panels, you are asked to pick only 1). Organizers of events (panels, demonstrations, themed portfolios) are still asked to organize only their 1 event, but may additionally participate in 1 portfolio exchange. We encourage applications from applicants of diverse backgrounds, students, independent artists, and scholars. Please apply directly to the organizer of the event and contact her/him/them with any questions.

 

Deadline 

Applications must be submitted by February 15, 2020.


Notification of Acceptance

March 1, 2020. Communication will come directly from panel and portfolio organizers.

 

2

Panels

Please submit the following directly to the chair of the panel to which you are applying: 

-Abstract (pdf) (max 50 words) (please address how you will engage the panel’s theme)

-Description (pdf) (max 300 words) (please expand upon the projects, artworks, artists, and/or histories you will address as a panelist to engage the panel’s theme)

-Bio (pdf) (max 150 words)

-CV (pdf) (max 3 pages)

-Up to 3 representative images (jpg) (max 2000 pixels in longest direction)

-link to representative video (optional)

Please note that if accepted, all panelists must be MAPC members in good standing and must register for the conference.


“Cheap + Easy: Zines, Posters, and Alternative Histories”

Chair: Jessica Caponigro
jtaylorcaponigro@gmail.com

Though often looked down upon as lesser forms of printmaking, many cheap and easy methods of creating multiples - including photocopying, laser, risograph, and screen printing - maintain a level of accessibility that other print techniques do not, allowing a greater spectrum of voices to disseminate information. This panel will discuss how those in power have used storytelling and reproducible media to control history, and how marginalized communities have used independent publishing to tell their own stories and fight back against oppressive systems.

 


“Queer Ephemera Et Cetera: Encounters in the Archive”

Co-chairs: Ruben Castillo & Amy Cousins
rubenbcastillo@gmail.com
amyvcousins@gmail.com

The queer archive is an archive of feelings: neglect, resistance, desire. It holds close the bits of ephemera telling stories untold, buried and deemed untellable. How do we document and preserve our own histories and how do we engage in cross-historical desires to the queers who came before us? This panel will bring together print-based artists engaging with the materiality and emotional potential of the archive to address its multiplicity and momentum towards a queer future. Through varied practices, in and around print, panelists will approach the theme of queer archives overtly, covertly, critically, and ecstatically.

 


“Removing Barriers in a Studio Practice”

Chair: Chelsea Clarke
chelsea.e.clarke@gmail.com

How can we work together to generate positive and sustainable change? How do we manifest Resistance and Revolution? This panel will address these questions from the perspective of a group of printmakers working with disabilities. Many print shops are set up with able bodied people in mind, and for someone who has to modify their practice to accommodate physical limitations, these spaces can be difficult to navigate. A frank discussion about how to remove these barriers, both at a personal and an institutional level, will be a positive step towards broadening the concept of inclusivity within print.

The discussion will be loosely framed around a series of questions for each participant such as: what does access look like for you? What’s working in your space? What isn’t working? What could be done about it? These prompts can be addressed from different directions, including physical barriers (stairs, high countertops, lack of equipment), as well as emotional barriers, like certain insidious (yet pervasive) attitudes about people with disabilities. They could also be answered as an artist talk, through a body of work that addresses your experience, though that is just a suggestion! Do not worry about constraining your answers to this formats - the scope of disability is broad and the way we talk about it can be just as diverse.

 


“Print as Protest in the Classroom”

Chair: Raluca Iancu
riancu@iastate.edu

Our students are increasingly politically active and desire to engender positive and sustainable change. They want their voices to be heard within the classroom as well. Printmaking is particularly well suited for this, stemming from a rich history of protest and distribution. How do we take this impassioned energy and empower the classroom? This panel will showcase different strategies for engaging with potentially divisive or controversial topics in the classroom. Panelists are encouraged to share moments of success as well as moments of failure, or cautionary tales. Contributions from students in addition to educators are strongly encouraged.

 


“The Political Ecology of Printmaking”

Chair: Lisa Matthias
lmatthia@ualberta.ca

I propose a panel discussion that explores some of the ways contemporary printmakers are confronting nature, the environment, ecology, and climate change through a political ecology. How can the interdisciplinarity of contemporary “art and ecology” help in the protest against corporate ownership of nature? The unification of art and ecology is an innovative area of investigation that raises numerous questions for discussion. Does it help us move toward sustainable change to view nature as a separate entity worthy of its own legal rights? Is it better to think of the earth in a post-natural sense, as part of a larger web of post-humanist interactions that include both biological and technological? How can biopolitics through visual art contribute to a redistribution of power and agency? How do printmakers engage and visualize ecological politics as we bear witness to and protest today’s environmental and ecological crises? As a professional printmaker and ecologist I would be honoured to chair or otherwise participate on a panel on this subject.

 


“Contested Territory and Print Terrain”

Chair: Sarah McDermott
kidneypress@gmail.com

From the forced removal of Native Americans and the resulting fantasy of the United States as a vast and empty territory, to the unfulfilled pledge of forty acres and a mule, the modern day US has its roots in foundational myths and broken promises related to land use and control. Land issues today are increasingly central to the climate crisis: agricultural production accounts for a third of greenhouse gas emissions, and ongoing fossil fuel extraction not only ramps up the speed of global warming, but also maintains certain regions as economically dependent sacrifice zones. Many printmakers have found land use and related “place-making” to be rich axes of creative exploration and interrogation. Likewise, the resistances to land exploitation, and the collective challenges to increasing consolidation of private property, can be “terrains” of inspiration. This panel will present a conversation between and about printmakers and print scholars who engage with themes of land justice- namely, how land is used, controlled, apportioned, exploited, stolen, farmed, or conserved. How do the ways that space is represented within printed matter mesh with conceptual themes such as environmental racism, gentrification, dispossession and colonialism? How does the fact that land is a frequent site of interpersonal connection and home-building influence the ways that we envision and respond to space as artists?

 


“Working in Inequality for Equality: Printmaking Practices & Political Capability”

Chair: Misty Morrison
misty.morrison@gmail.com

How can printmaking advance equality? How do the politics of printmaking intersect with the challenges of addressing inequality? How can printmaking open up people’s political capability in the context of - often severe - inequality? What kinds of inequality (legal status, political inclusion, wealth, agency, etc.) matter most in the context of printmaking? In this panel, we look at historical and contemporary examples of printmaking practice, process, and product in order to (1) understand how concerns about equality both challenge and are answered by printmakers and to (2) clarify how printmaking can develop people’s capability to be effectively political as equals.

3

Themed Portfolio Exchanges

Themed Portfolios are curated by MAPC members*. Participants receive a portfolio with a full set of prints—a print from each participating artist. All portfolio exchanges will be displayed during the conference. One copy of the portfolio is donated to the MAPC Archive currently housed at Indiana University, Bloomington, IN. Portfolio participants are not required to be MAPC members or to attend the conference, but are encouraged to do so.

*Organizers of themed portfolio exchanges are solely responsible for collecting prints, any participation fee, collating the portfolios, housing them in an appropriate container, and returning them to participants. MAPC and the host institution(s) cannot be responsible for any portfolios or artworks that are lost, damaged, or incomplete.

Please submit the following directly to the organizer of the portfolio exchange to which you are applying:

• CV (pdf) (max 3 pages)

• Up to 3 representative images (jpg) (max 2000 pixels in longest direction)

• Artist Statement and/or brief statement of interest (max 300 words)

 


“The Ties That Bind”

Organizer: Chadwick Tolley
chadwicktolley@gmail.com

Data analytics and media in the digital age is being used in strategic ways to efficiently target specific groups of people for personal, political or financial gain. Ideologies of “Us vs Them” are created to further divide people into groups that can be mobilized and manipulated to fight a perceived enemy.  For this reason, objective truth and empathy have been replaced by sensationalism, half-truths and extremist social/political ideologies. This portfolio exchange aims to celebrate diversity and common threads that we all share. Invitations to artists will be extended with the intent of representing diversity in race, culture, geography, gender and aesthetics.  

The theme, “The Ties That Bind” is open for each artist’s interpretation.  15 Artists will be invited to participate and will create an edition of 18 prints on 15” x 15” paper.  Each artist is encouraged to create visual images with real or implied connecting points in the center of all four edges of their print.  When displayed together, there should be an implied point of connection, whether arranged side by side or top to bottom. The portfolio exchange will be displayed at the Gertrude Herbert Institute of Art in Augusta, GA and additional venues. 

Size: 15” x 15” archival paper
Edition Size: 18
Media: Any
Cost: $30

 


“Voices of Print, Voices of Power”

Organizers: Erin Holscher Almazan and
Emily Sullivan Smith
eholscheralmazan1@udayton.edu
esullivan1@udayton.edu

In the chaos of these transformative times, it is easy to feel small, irrelevant, and that our voices are drowned out by the waves of injustice. The nature of depressing information, continuously spiraling news feeds, and a political era of turbulence and partisanship can overwhelm our senses, feed our anxieties, and drive a feeling of hopelessness. Where can we turn to feel empowered, to inspire change through positive messaging, and renew our hope and trust in the greater good? This portfolio invites artists to contemplate and convey current social, political, and ecological issues in a new light… to push beyond the fear and embrace our changing world with a sense of hope, determination, and love. We want to reclaim our agency and voice to provide leadership as artists for the next generation. We additionally encourage artists to consider the languages embedded within printmaking that have been the proliferate, such as broadsheets, posters, and other ephemeral print media, that have been duplicated, distributed, and have provided messaging for the masses.

Size: 16”x20”
Edition size: 16
Media: All print media, including expanded definitions, are accepted.
Cost to participate: $20

 


“Sustain”

Organizer: Heather Leier
heather.leier@ucalgary.ca

In 2015, United Nations member states adopted a plan of action that includes 17 Sustainable Development Goals (SDGs) that aim to address global issues and work towards creating a better future for all. In depth information about each of the SDGs is available on the United Nations website here.

The 17 SDGs are as follows: (1) No Poverty, (2) Zero Hunger, (3) Good Health and Well-being, (4) Quality Education, (5) Gender Equality, (6) Clean Water and Sanitation, (7) Affordable and Clean Energy, (8) Decent Work and Economic Growth, (9) Industry, Innovation and Infrastructure, (10) Reduced Inequality, (11) Sustainable Cities and Communities, (12) Responsible Consumption and Production, (13) Climate Action, (14) Life Below Water, (15) Life on Land, (16) Peace Justice and Strong Institutions, (17) Partnerships to achieve the Goal​s.

Through this portfolio exchange, artists will create an inventive and nuanced print work that is inspired by one of the 17 SDGs. Artists may imagine what a future would look like if their goal is achieved. They may consider ways in which individuals can contribute to sustainable practices in meaningful ways. ​Artists may consider the inadequacies of the goal they are addressing. They should consider how gender, race, class, religion, ability, geographic location, and socioeconomic status affects how people experience the challenges addressed through the SDGs in different and complex ways. Artists will consider how the achievement of the United Nations Sustainable Development Goals will require both resistance and revolution. Together, the “Sustain” portfolio will be composed of an image that represents each of the Sustainable Development Goals. ​At the time of application, please indicate three of the sustainable development goals that you would be interested in addressing. Every effort will be made to assign each selected artist with one of their requested choices. 

Size: 9”x12”
Edition size: 20
Media: any editionable print media
Cost to participate: $30

 


“Sequencer: A Hybridization of Print and Moving Image in the Digital Age”

Organizers: Jon Vogt and Nathan Pietrykowski
mangalang@gmail.com

The invention of print revolutionized how humans share and perceive information. Today, print and its related forms continue to shape how culture, news, and entertainment is recorded, disseminated, and consumed. Other major advancements in media including photography, moving image, and computers in the digital age have also played significant roles. As an art form, printmaking has thrived and continues to thrive by embracing new technological advancements which provide fertile ground for artistic experimentation and hybridization of media. This themed portfolio exchange aims to combine and explore the relationships between printmaking and moving image in our current age.

Artists will create a printed image that will produce a short looping animation. Prints will utilize a grid system with each panel becoming a frame in the artist’s animation. Grid templates and detailed instructions will be provided with the finalized version of the prospectus. Organizers will edit and format the printed works into animations. Along with the final portfolio, each participant will receive a flash drive containing the digital animations of each artist's work.

Size: 20”x16”
Edition size: 20
Media: A hybridization of media is encouraged for this exchange with artists using at least one hand pulled printing technique in their animation.
Cost to participate: $65

 


“What’s So Funny?”

Organizer: Morgan Price
moprice2@yahoo.com

As a strategy to highlight the ridiculous, humble the powerful, or even to retain identity and spirit in the face of injustice and persecution, humor has long been connected to resistance and revolution. With its links to dissemination and accessibility, printmaking was frequently the media of choice for producing works of satire and social critique. The prints of such artists as Honoré Daumier and William Hogarth are still admired for their wit and poignancy, while contemporary artists like Enrique Chagoya and Juane Quick-to-See Smith use humor to address current issues. “What’s so funny?” is an exchange portfolio bringing together a range of artists who, whether exploring the personal or the political, utilize elements of humor to address socially relevant topics. 

Size: 11”x14”
Edition size: 22
Media: editionable and archival print processes (including digital techniques)
Cost to participate: $20

 


“Screenprint: Beyond DIY Culture”

Organizer: Myles Calvert
calvert@alfred.edu

Relating directly to the MAPC 2020 theme of “Power of Print: Resistance and Revolution,” artists are asked to respond using only the medium of screenprint.

The rich history of screen-based printing is the ideal medium when addressing industry, mass-production, economic restrictions, speed, incorporation of advancements in technology, and popular culture. These facts are nothing new. Screenprint is also the most accessible, DIY, and effective way of making a print that is precise, bold, and colorful.

Artists are asked to resist and revolt, while using the power of print, by challenging the MAPC 2020 theme with a new twist. Elevate the preconceptions and DIY culture of screenprint by focusing on layers, technology, precision, ink modifiers, surface variation, and concept. Consider the exact terminology used and incorporate them into your own research practice:

-Resistance - push and pull, a barrier, not giving in to threat, temptation, a stance, oil and 

vinegar, masks, layers, blocking light

-Revolution- turning the tables, more than an uprising, a message, a vision, a different way or 

direction, new approaches

-Power- with or without it, force, electrical, steam, political, physical, mental, water 

pressure

Size: 18”x20” surface (usually paper) size, image may be smaller
Edition size: 23
Media: Screenprint (non-traditional surfaces are encouraged but must not damage or compromise other prints once stacked in a portfolio box. Folding, full-bleed, multi-sided prints, etc are accepted)
Cost to participate: $20 + shipping

 


“Tracked Prints, Layered Sounds”

Organizers: Ry McCullough and Nick Satinover as small_bars
nick.satinover@gmail.com
RMCCULLOUGH@ut.edu

There are a myriad of structural and aesthetic similarities between printed imagery and recorded music. Many printers are also musicians and if not players themselves, many artists draw influence from the recorded music of others. Notable Kent State University alumni, Mark Mothersbaugh along with members of the punk group DEVO provide perhaps the most exemplary fusion of image and aural practice. Additionally, Northeast Ohio has a long history as an incubator of music, political activism and DIY ethics which this portfolio seeks to reflect. As makers of multiples we seek to consider the notion of self-publication, private press recordings, and editioned prints as parts of an ecology of ideas and practice. We seek community members who make both Tracked Prints, Layered Sounds.

This portfolio will collect the visual and audible work of artists both as printed editions and an edition of collaborative lathe-cut vinyl records. Like handmade prints, a lathe-cut record is made by physically cutting audio files into the vinyl in real time. Each record captures an impression of the audio, and like a print, each record is made one at a time. This portfolio seeks artists who work between audio and visual and whose work considers the intersections of commercial and fine art, personal and political, individual and collective.

Each artist will submit an edition of prints and an audio file. Each artist will receive a portfolio of prints along with a case including their copy of the collected recordings of all participants on vinyl.

Size: 12”x12”
Edition size: 14
Media: traditional analog and/or digital
Audio file: 3 minutes, submitted as wav file
Cost to participate: $40 dollars (this covers production of vinyl, full color jackets, portfolio case and shipping)

 


“Banner Flags of Resistance and Revolution”

Organizer: Noah Breuer
noahbreuer@gmail.com

In this exchange portfolio, artists will be invited to create printed, vertically-hanging banner-flags on paper, fabric or other substrates that broadly relate to the conference themes of Resistance and Revolution. Prints may be created in any medium but should be no larger than 11”x18” and should be affixed with ¼-inch grommets attached to the top corners for hanging. Recommended grommets can be found here: https://www.harborfreight.com/grommet-pliers-with-100-grommets-66707.html

Prints may be cut into a variety of shapes in order to reference medieval banners, sports pennants or maritime flags as long as the total size does not exceed 11”x18”. Because all of the flags will be affixed with grommets, they will be able to be displayed from a wall by pins or nails or along a horizontal string or hung from the ceiling. Ideally, each of these flags will reflect the participating artist’s unique take on the conference themes through the lens of identity, community, gender, ethnicity, sexuality, or political agenda. Together, the flags will act as a public declaration of the participating artist’s values, beliefs, or aspirations.

Size: 11”x18”
Edition size: 11-15
Media: open to all media
Cost to participate: $50

 


“Rise Up!”

Organizers: Phoenix Rising Printmaking Cooperative (Karen Campbell, Anne Cushman, and Jessica Depp)
albanesecampbell@gmail.com
cushjp@aol.com
beckoningfish@wowway.com

“Rise Up!” is a call out to printmakers to address the cause that keeps them awake at night: war, peace, ecology, culture, race, power, immigration, sexism, etc. that remain universal themes that artists need to inquire about and comment on to a global audience. 

Size: 9”x12” (paper), (Image size is minimum 5”x8” and maximum of 9”x12”)
Edition size: 24
Media: Accepting prints made in 2020 by traditional printmaking methods: intaglio, relief, silk screen, lithography and monotype. Prints should be created on a support of paper. No digital prints will be accepted.
Cost to participate: $10

 


“Out of Choice, Out of necessity”

Organizer: Roberto Torres Mata
rtorres4@wisc.edu

Migration has been a phenomenon that has always been part of society - it is not a problem but a human right. My proposal for this exchange is focusing on the current issue of migration in this country as this administration has become defensive against any people who are coming to the United States who are fleeing their homeland to find a safer better life. This in effect will change societies, restrict, or create a barrier to cut-off the movements from people; they end up destroying the life and psychologically harm families or communities.

The theme for this exchange will bring attention to issues that demonize migration and counteract the contradictions of resentment that politicians have for migrants. There is a significant problem and it takes a form of resistance to rise against the discrimination that carries from people migrating for a better life.

Size: 11”x14” (paper size). (The printed area can be any size that fits within these dimensions, prints can also bleed). THE PAPER MUST BE ARCHIVAL.
Edition size: 26
Media: Any traditional printmaking technique: Lithograph, Intaglio, Relief, Serigraphy, Letterpress, or any combination of these. Also, no digital or inkjet print will be accepted.
Cost to participate: $60 (covers shipping, colophon, and portfolio box)

 


“Open-Ended CTA: A Collaboration”

Organizer: Shelley Gipson
sgipson@astate.edu

Calling all Faculty and Mentors:  Collaborate with a beginning printmaker!  Create a Call to Action (CTA) that is both personal and timeless, specific and universal.  Preference will be given to collaborations between a mentor and a first-generation college student, sheltered, or first-time MAPC member/attendee. By choosing a Call to Action (CTA), working together to design and print an edition, and (possibly) attending the conference together, these first-timers will get a jump start on their potential as artists.

Size: 15x11”
Edition size: est. 33
Media: open
Cost to participate: cost of shipping for non-attendees only

 


“The Resistance of Womxn. A Century of Suffrage”

Organizers: Claire Bowman, Tara Segars, and Susanna Harris
sharri82@kent.edu

The printed arts have historically played key roles in the publicity and success of just causes, from the women’s suffrage movement in the early 20th century to the first Women’s March in 2017. Claire Bowman, Tara Segars, and Susanna Harris are collaboratively proposing a portfolio exchange of MAPC printmakers to celebrate womxn as printmakers, and changemakers. As well as the centennial for the ratification of the 19th Amendment to the Constitution of the United States of America. The 19th Amendment, ratified June 6, 1920 in Ohio, states: “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex.”

Participants will be asked to provide an edition of a print relating to, and/or incorporating women’s rights, and print as a powerful form of resistance and revolution.

Size: 11”x14”
Edition size: approximately 16
Media: any archival print material including lithography, silkscreen, relief, collagraph, letterpress, intaglio, digital, etc. Please no loose materials.
Cost to participate: $35