Saturday, October 17, 2020
Synchronous Programming via Zoom. All times are EST.
- 9:45-10am Opening remarks
- 10-11am Keynote speaker Delita Martin
- 11:30-1pm Panel "Visible Figures: Black Womanhood in Printmaking" chaired by Tanekeya Word
- 1:30-3pm: Demonstration "Accurate, Accessible, and Experimental Solar Exposure for Silkscreen" organized by Andy Holliday
- 3:30-5pm: Panel "Contested Territory and Print Terrain" chaired by Sarah McDermott
- 5:30-7pm: Panel "MAPC 2020 Travel/Research Grant Awardees" chaired by David Diaz
- 7-8pm: Themed networking sessions via Zoom breakout rooms
Sunday, October 18, 2020
Synchronous Programming via Zoom. All times are EST.
- 10-11am Student Lightning Talks hosted and organized by J. Leigh Garcia
- 11:30-12:30pm MAPC Member's Meeting
- 1-2:30pm: Panel "Queer Ephemera Et Cetera: Encounters in the Archive" co-chaired by Ruben Castillo and Amy Cousins
- 3-4:30pm: Demonstration "DIY ROLLERS" organized by Ross Mazzupappa and Christina Humble
- 5-6:30pm: Demonstration "Freedom of the press only belongs to those who own one: a DIY press" organized by Steve Garst
All Weekend Long
Asynchronous programming to enjoy at your convenience!
- Exhibitions presented online
- MAPC Member's Exhibition juried by Imin Yeh, also presented in-person at the Main Gallery, Center for Visual Arts, Kent State University
- Solo exhibition by Amos Kennedy, also presented in-person at the Kent State University School of Art Downtown Gallery, Kent, OH
- "Make Ready for the Revolution" a virtual letterpress exhibition presented by Zygote Press, Yana Mikho-Misho, Wendy Partridge, and Bob Kelemen
- "Contra / Against" a virtual exhibition presented by Instituto Grafico de Chicago
- Regional juried printmaking exhibition presented by Summit Artspace
- Themed Portfolio Exchanges presented online
- Demonstration "Radical Love and Polymer Plates" organized by Abbey Kleinert
- In Memoriam by Bob Erickson
- Open Portfolio via Instagram
- Post your work with the hashtag #mapc2020openportfolio on Saturday October 17
- Scroll through the hashtag to get to know your community and don't forget to like, follow, and comment!
Panel "Visible Figures: Black Womanhood in Printmaking" chaired by Tanekeya Word, founder, Black Women of Print
Historically, within the United States of America, Black women have been stereotyped, placed in the shadow archives or erased from visual arts, including printmaking which is recognized as a democratic discipline. This panel offers an emic counter narrative, given by Black women, of their praxis within the discipline of printmaking. It also introduces what curator Erin Christovale asserts as a "legacy praxis" where the founding members of Black Women of Print expand on the works of their foremothers through their artistic practice and theory.
Tanekeya Word is a Milwaukee, Wisconsin based visual artist, fine art printmaker, art educator and scholar, whose work centers around Critical Race Theory, Womanism and Black Women geographies: exploring Afrofuturism, Black aesthetics, Black hair, Black identity, and Black girl/womanhood. She is currently an Urban Education/Art Education PhD dissertator.
Angela Pilgrim is a printmaker and founder of Fruishun a subfilliate of Fruishun Press Studio. Her art practice lies within screen printing, risography and textile printing. Her inspiration draws from the subject of Black beauty and womanhood and how it is perceived in the world. Pilgrim is based in New Jersey.
Ann Johnson was born in London, England and raised in Cheyenne, Wyoming. She is is a graduate of Prairie View A&M University in Texas, where she has taught for over 20 years. She has received an MA in Humanities from the University of Houston-Clear Lake, and her MFA from The Academy of Art University, in San Francisco. Primarily a mixed media artist, Johnson’s passion for exploring issues particularly in the Black community has led her to engaging work. Her series It Is The Not Knowing That Burns My Soul, examining the "Black Indian," was included in a catalog and exhibition titled: Indivisible for the Smithsonian’s National Museum of the American Indian.
LaToya Hobbs produces figurative imagery that addresses beauty, cultural identity, and womanhood through women of the African Diaspora. She creates a fluid relationship between her printmaking and painting practice producing works marked by texture, color and bold patterns. Additionally, LaToya serves as faculty at the Maryland Institute College of Art.
Jennifer Mack-Watkins received her BA in studio arts from Morris Brown College, MAT from Tufts University, and MFA in Printmaking from Pratt Institute. Jennifer’s work investigates the societal conformities that isolates being a woman and how society defines what femininity is based on a predefined pattern.
Stephanie Santana is a textile artist and printmaker. She holds a BA in Communication Studies, 2006, and a degree in Textile and Surface Design, 2018. Her current work references family archives, layering hand-printed images and patterns as a way of understanding the space between memory, imagination and the physical evidence of Black life.
For more information about Black Women of Print, please visit https://www.blackwomenofprint.com/.
Demonstration “Accurate, Accessible,and Experimental Solar Exposure for Silkscreen” organized by Andy Holliday
Every graduating art student and DIY printmaker struggles with the technical demands for a studio setup. Silkscreen can be one of the easier processes to set up, with exposure and washout possibly requiring some investment. I have been experimenting with solar exposure in order to create a process for reliably exposing images and materials under a variety of light conditions.
The biggest improvement in my ability to accurately use the sun with repeated results was the ability to measure my light source. An important part of my proposed workshop is to go through the process of using a light meter or light meter app to create a system of exposure time equivalencies that correspond to the particular type and sensitivity of emulsion being used. In my work, I use Ulano TZ, which is said to have a greater range of acceptable exposure times.
Finally, the experimental and fun qualities of solar exposure have to do with the possibilities of capturing information from objects that are not in direct contact with the screen, or taking advantage of image distortion or elongation. Simply put, you are able to capture shadows of dimensional objects.
The facilities required are straightforward: A darkroom or screen coating space, several screens at around 200 mesh, low and high pressure washout facilities, halogen lamps in case of inclement weather, waterbased screenprinting ink, paper, and cleaning supplies.
Andy Holliday is Visiting Assistant Professor of Foundations at Auburn University in Auburn, AL. He earned his MFA in Printmaking from Southern Illinois University Carbondale and his BFA in Printmaking from Auburn University. His studio practice ranges from printmaking to ceramics and sculpture. His recent work explores communication and translation through an ongoing series of collaborative prints and drawing with his partner, Lijun Chao.
“Contested Territory and Print Terrain” chaired by Sarah McDermott
Land access and control are central to our ability to feed and sustain our communities, as well as being a major source of wealth and inequality. This panel will present printmaking work and print scholarship that engages with the theme of land justice, including such topics as dispossession, gentrification, colonialism, agriculture, extractivism, collectivity and privatization.
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 a rich axis of creative exploration and interrogation. Conversely, the resistances to land exploitation, and the collective challenges to increasing consolidation of private property, are “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?
Sarah McDermott was born in Washington DC and currently lives and works in Huntington, West Virginia, where she is an Assistant Professor of Printmaking at Marshall University. Her work frequently engages with issues of power and space, exploring shifting relationships of dominance between people and the environment.
Kalyn Fay Barnoski (b. 1990) is a ᏣᎳᎩ and native Oklahoman, currently pursuing her Master of Fine Arts in Printmaking at the University of Arkansas. She earned her Honors B.F.A. from Rogers State University in 2012 and a Master of Arts from The University of Tulsa in 2016. She is an interdisciplinary artist, working within digital, print, and sound platforms as it relates to Indigenous ways of knowing. She has worked with Peabody Essex Museum, Philbrook Museum of Art, Gilcrease Museum of Art, Crystal Bridges Museum of American Art, Eiteljorg Museum, along with others, and performed, exhibited, and facilitated workshops both nationally and internationally. In her free time, she enjoys performing music under the name Kalyn Fay and spending time with friends and family.
Paloma Barhaugh-Bordas is an artist living and working in upstate New York. Originally from Denver, Colorado, she received a BA in liberal arts from Carleton College in Northfield, MN, and an MFA in Printmaking at Rhode Island School of Design in Providence, RI. Paloma’s work adapts and appropriates the vernacular of the many regions she’s called home and traces the self-conscious search for cultural roots as a first-generation American.
Amze Emmons is a Philadelphia-based, multi-disciplinary artist with a background in drawing and printmaking. Emmons received a BFA from Ohio Wesleyan University and a MA and MFA from the University of Iowa. He has held solo exhibitions in, Berlin, Boston, Chicago, Philadelphia, and San Francisco, among other locations. His work has been included in group exhibitions in innovative commercial galleries, artist-run spaces, and museums. Emmons has received numerous awards including a Fellowship in the Arts from the Independence Foundation; an Individual Creative Artist Fellowship from the Pennsylvania Arts Council; and a Fellowships at the MacDowell Colony. His work has received critical attention in Art in Print magazine, The Philadelphia Inquirer, and New American Paintings, as well as many other publications. He is currently an Associate Professor and Program Head of Printmaking at the Tyler School of Art and Architecture at Temple University in Philadelphia.
“MAPC 2020 Travel/Research Grant Travel Awardees” chaired by David Diaz
Emily Harter is a multi-disciplinary artist and a recent graduate of Oberlin College, where she received a BA in studio art and art history. Growing up in Pleasantville, NY, she discovered screen printing at the tender age of 12 and never looked back. In her undergraduate studies, she has continued to develop her work in screen printing while expanding her focus to include intaglio and lithography. During her time at Oberlin, her work has been shown in San Diego, Albany, and Chicago, and she has received residency awards at After 1920 Residency in San Diego, CA and Arts, Letters, and Numbers Residency in Averill Park, NY.
Acadia Kandora is an interdisciplinary artist, rock collector, and nature enthusiast. She holds a BFA with concentrations in Graphic Design and Sculpture from Shepherd University, and is currently pursuing her MFA in Printmaking at the University of Arkansas. She has exhibited both nationally and internationally in cities such as Baltimore, Indianapolis, Bentonville, and Korpo, Finland.
Emerging Artist Award:
Anna Haglin is an interdisciplinary artist based in Minneapolis, Minnesota. She attended Smith College in Massachusetts and earned her MA and MFA in printmaking at the University of Iowa. She completed apprenticeships at the Arion Press in San Francisco and the Women’s Studio Workshop in upstate New York. She has been an artist-in-residence at the Minnesota Center for Book Arts, Art Farm in Nebraska, and served as Assistant Professor of Printmaking at Minnesota State University Moorhead. She is currently a lecturer in printmaking at the University of Minnesota. She also runs Paper Plains, a socially-engaged mobile papermaking studio that turns invasive plants into handmade paper.
“Queer Ephemera Et Cetera: Encounters in the Archive” co-chaired by Ruben Castillo and Amy Cousins
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.
Ruben Bryan Castillo is an artist born in Dallas, TX and currently working in Kansas City, MO. His work has been widely exhibited and has been included in public collections such as the Crossroads Hotel, Kansas City, MO; Mexic-Arte Museum, Austin, TX; National Museum of Mexican Art, Chicago, IL; the Zuckerman Museum of Art, Kennesaw, GA; and the Turner Print Museum, Chico, CA. Castillo’s work addresses themes of intimacy, queerness, place, and the body.
Amy Cousins is an artist from Houston, Texas living in Philadelphia, Pennsylvania. Her work has been exhibited nationally at venues including Vox Populi in Philadelphia, the Visual Arts Center at Boise State University, and the Lawrence Arts Center in Lawrence, Kansas. Cousins was an artist-in-residence at Illinois State University in 2018 and at ACRE Residency in 2019. Her work mines archives and material culture and stems from a desire to create queer space and time.
Corinne Teed is a research-based artist working in printmaking, installation, time-based media and social practice. Their work lives at the intersections of queer theory, ecology, critical animal studies and settler colonial studies. Teed collaboratively re-imagines interspecies communities in this era of environmental devastation. They currently teach at University of Minnesota.
Queer Ecology Hanky Project is an exhibition of nearly 100 artist-made bandanas exploring the theme of queer ecology. It has been exhibited at The Future (Minneapolis), Irma Freeman Center (Pittsburgh), and Women’s Studio Workshop (Rosendale, NY). It is organized by Pittsburgh-based printmakers Vanessa Adams and Mary Tremonte.
Brice Peterson is an artist and librarian based in Philadelphia whose work examines the limits of nostalgia in queer identification with mass culture. He has an MFA from Cornell University, an MLIS from Drexel University, and has been a resident at the Wassaic Project and Anderson Ranch and an apprentice at the Fabric Workshop and Museum.
Veronica Ceci is an intermedia artist based in Austin, TX, where she has been working as a Master Printer since 2004. She was educated at the Milwaukee Institute of Art and Design, Kent State and the Tamarind Institute. Ceci’s culturally conscious artworks have been exhibited continuously for over two decades.
“DIY ROLLERS” organized by Ross Mazzupappa and Christina Humble
This process was developed by Ross Mazzupappa in collaboration with Christina Humble to produce quality and affordable DIY rollers/brayers that can stand up to rigorous use of students and professionals alike. Our demonstration will show participants how to:
-Assemble and prepare a mold that can be customized to various sizes.
-Coloring, mixing, and casting urethane rubber.
-Demold and assemble the rubber into a quality roller/brayer.
-The Care and maintenance of the roller. As well as comparison with other commercially available products
Using readily available rubber online, and materials from local hardware stores; these roller/brayers are meant to be affordable and easily made. We were inspired to develop this process in hopes to make accessing quality printmaking tools easy for co-ops, non-profit shops, and artists outside of a funded academic setting.
Ross Mazzupappa is a Printmaker, and Photographer from who incorporates traditional printmaking, drawing, photography, and digital imaging into a multi-disciplinary practice. His work explores themes of labor, industry, place, memory, and history of the Rust Belt region. He attended Youngstown State University where he received a BFA in Studio Art Printmaking/Painting. Ross went on to receive a MA in Printmaking with a minor in Sculpture and an MFA in Printmaking with a minor emphasis in Photography from the University of Iowa. He is also a technical researcher and has developed several processes; including a photomechanical etching process, affordable roller/brayer making, and various designs for screenprint equipment. His work has been shown nationally and internationally in various juried exhibitions, portfolios, and collections. Ross is currently the Assistant Teaching Professor of Printmaking and Photography at Bowling Green State University in Bowling Green, Ohio since 2015-Present.
Christina Humble received both her Bachelor of Fine Arts in Painting and Printmaking, as well as a Bachelor of Science in Education degree at Youngstown State University. She graduated from American University in Washington, DC with her Masters in Fine Arts in Studio Art. Christina is an interdisciplinary artist who works in drawing, painting, printmaking, photography, and video. The themes of her work are often based on self-reflections and personal observations that is re-conveys into broader ideas about society. She has worked and shown nationally and internationally. Christina is currently an Adjunct Instructor at Adrian College, in Adrian, Michigan where she teaches drawing and printmaking.
“Freedom of the press only belongs to those who own one: a DIY press” organized by Steve Garst
It is a challenge for many recent graduates to find printing facilities when they graduate. A small printing press costs over $1000, which is out of the range of many students and recent graduates. My goal is to enable students to make prints after they graduate without requiring significant woodshop/metal shop skills. My project is a relief/letterpress printing press that can be made with limited skills and access to a laser cutter. All parts can be either cut with a laser cutter or easily sourced from a local hardware store and the internet for around $60.
My goal with this project is to enable students to continue making prints after they graduate through the use of this DIY press. This press is great for beginners due to its simplicity. It is also great for workshops and other types of activities that need many similar presses.
The goal for the presentation is to present the instructions/laser cutting templates, assemble a part of the press and demonstrate printing on the press during the project presentation.
Steve Garst was raised on a corn and soybean farm in central Indiana. He received his BFA and MA from Ball State University and MFA from Miami University. After his formal education, Steve has taught a number of printmaking, bookmaking, and drawing classes at several universities (Ball State University, University of WIsconsin-Oshkosh, University of Wisconsin- Stevens Point). He currently serves as an associate adjunct faculty member at the University of Indianapolis.
“Tracked Prints, Layered Sounds”
Ry McCullough and Nick Satinover as small_bars
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. This portfolio showcases MAPC community members who create Tracked Prints and Layered Sounds.
This portfolio presents the visual and audible work of artists both as printed editions and an edition of collaborative lathe-cut vinyl records (as well as streaming audio). 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 considers the intersections of commercial and fine art, personal and political, individual and collective.
For presentation at the MAPC Remote Symposium, each artist created an edition of prints and an audio file, all viewable at http://trackedprints.com.
Nick Satinover and Ry McCullough as small_bars
Felicia Cannon in collaboration with Ryan Paluczak
J. Chalet Comellas-Baker
Terry James Conrad
Carrie Scanga in collaboration with Ron Harrity
“Out of Choice, Out of necessity”
Roberto Torres Mata
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.
Jacob M. Bautista
J. Leigh Garcia
Roberto Torres Mata
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 Goals.
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.
Jonathan S. Green
Mitch Chalifoux / Madison Dewar
Nurgul Rodriguez del Ojo