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The Mid America Print Council Journal The Mid America Print Council Journal Volume 22, Numbers 1 & 2, 2014 Crossover: Interdisciplinary inquiry within the printed form Members of TABLE of The MAPC Journal To read online or download print-your-own MAPC Journal pdfs visit Advisory Committee: CONTENTS www.midamericaprintcouncil.org Janet Ballweg, Professor of Art The Mid America Print Council Journal Bowling Green State University Volume 22, Numbers 1 & 2, 2014 Bowling Green, Ohio Crossover: Interdisciplinary inquiry within the printed form Shaurya Kumar, Assistant Professor of Art The School of the Art Institute of Chicago Chicago, Illinois Sarah Marshall, Associate Professor of Art University of Alabama LETTERS FROM PRESIDENT THE HYBRIDIZED PRINT Tuscaloosa, Alabama AND CO-EDITORS Ed Bernstein describes his three-dimensional Kevin Haas, Professor of Art Catherine Chauvin, Jennifer Ghormley, print-based constructions, as well as travels Washington State University Anita Jung, Kristine Joy Mallari and observations on the socio-economically Pullman, Washington divided cultures of Brazil. Design Liaison: CONTRIBUTORS Charles Beneke, Professor of Art THE RESPONSIBILITY OF THE ARTIST University of Akron Edward Bernstein, Dean Dass, Ina Kaur, Akron, Ohio Taryn McMahon, Nathan Pietrykowski, Dean Dass pontificates on the authenticity of Conrad Ross, Rachel Singel, Maritza Davila an artist’s work, and searches for where it can be found. PRINT SYNTHESIS Taryn McMahon explores the notion NEW WORK FROM OUR MEMBERS of ‘interdisciplinarity’, as it relates to the Nathan Pietrykowski traditions and contemporary approaches to Ina Kaur print practice. Rachel Singel Maritza Davila ON SEEING AND DRAWING, AND THE PRINT MEMBERSHIP FORM Conrad Ross investigates the subject of, “What does the artist see when looking?” New links to Facebook and Instagram. SPRING companion mailer Article on Mary Manusos by MAPC Co-editor Anita Jung Jung pays homage to Mary Manusos, who will be honored as the tenth recipient of the MAPC Outstanding Printmaker Award at the 2014 conference in Detroit, MI. On the Cover Mary Manusos, Yellow on Hands Medium: etching on hand poured paper 32" x 44", 2005 Courtesy of artist 2 3 Letter from the President: Letter from the Co-Editor: Visiting artists to The University of Denver this year range from a The MAPC Journal actively brings together artists from across the ceramicist who works for the International Ceramic Research Center nation to present their explorations and conversations regarding what in Skaelskor, Denmark, to a photographer working with inmates at San printmaking is and what it might become. Discussions that survey Quentin Prison California, to a master printer collaborating with artists printmaking’s potential for cross-disciplinary investigation, the prints in Steamboat Springs, Colorado. This array of investigation in creative allegiance to seeing and drawing, as well as the artistic resolve to create fields provide examples of how the IDEA can take artists far from their and workout conflict while celebrating the hybridity of the print, and the comfort zones, into unexpected communities and beyond original constant addition of artists striving to generate new work embody this intentions. For each artist, how collaboration is part of his or her practice current issue. It’s a pleasure to partake in a project as organic and self- CATHERINE CHAUVIN is unique. While artists are attached to specific areas, their ideas, modes generating as the MAPC Journal. It is truly the organization’s members ANITA JUNG is an associate professor at of working and subject matter are varied, stretching well outside the who come forward with compelling ideas to write about and the editors is an artist and the Professor the University of Denver. After confines of their disciplines. who attempt to frame and pair them into dialogues within the format of Intaglio and Printmedia earning an MFA at Syracuse at the University of Iowa. of a journal. It is precisely this inclusion and collaboration within the University, she trained at the Her work is eclectic and Tamarind Institute and has Inquiry within the printed form happens daily in our studios, and in our membership that is a key component to printmaking’s active engagement, investigates the everyday collaborated with artists such writing and thinking practice. One of my challenges is how to encourage enterprise and innovation. It is my hope that you will find some inspiration occurrence of being a as Gladys Nilsson, Jaune students to develop their own ability to inquire — to develop their own within this issue and I urge you to be an active participant by submitting an human being engaged in Quick-to-See Smith and the world, She freely moves strengths, not only in the studio, but to ask themselves questions, to go article, a review or an image to the next issue. William Wiley in New Mexico, in and out of various art Texas and Anderson Ranch beyond assignments into the self-guided world of a practicing artist. practices. She is organizing Arts Center in Colorado. These a 2014 summer seminar experiences as a collaborative In the Dean Dass article, “The Responsibility of the Artist”, the author investigating art as a form of printer and artist combine in social practice. pursues several lines of inquiry, from “How did we get here?” to his several ways in her artwork and teaching. Catherine uses recommendation, “Be careful”. Simultaneously encouraging and a good artwork to examine what is challenge, Dass probes further; “This imaginative unity is redemptive. Art done to the environment in the wants to touch the world again, it wants the world back, closer, while all name of progress. about us the world continues to recede.”I think my students have some required reading ahead. Letter from the Editor: Letter from the Co-Editor: The past month has been a celebration of Printmaking all throughout Working in the art materials industry, I see a wide diversity within groups the Denver/Front Range area, with the first inaugural Mo’Print Month of who use different media to create art. At Gamblin (ink manufacturer), I'm Printmaking. Exhibitions, studio tours, lectures and demonstrations have able to talk to oil painters, printmakers, and the many that fall between. filled the calendar, as printmakers have embraced a common love for all I've noticed stark differences between groups of different makers and things printed. thinkers. As printmakers, we're lucky to have a built-in studio community. We have fellow studio mates to bounce ideas off, to ask questions, to I have always found printmaking to have wide latitude in how artists have spread information. I've never seen a message spread faster, and more the ability to translate a diverse array of art disciplines through the print effectively, than in a group of dedicated printmakers. The print medium JENNIFER GHORMLEY process. In school, many hours and critiques were spent pontificating over finds its roots as a source for reaching mass audiences, for being a KRISTINE JOY MALLARI received her MFA in 2006 ‘What is a Print’. Walter Benjamin’s historic article “The work of art in the democratization of news. Hundreds of years later, that tradition is stonger was born and raised in the from the University of age of Mechanical Reproduction”, questions authenticity and the presence than ever. The articles in this issue focus on art as social practice and print desert of west Texas. She Nebraska-Lincoln. She exhibits studied printmaking at the of an aura within an original of a work of art. In this issue of the MAPC media to spread ideas and elicit reactions. internationally through juried University of North Texas exhibitions, exchanges, and Journal, Dean Dass’ article speaks to the notion of authenticity, and brings and moved to Portland, invitations, and hung a solo up some interesting points for thought and discussion. Oregon after graduating in installation I 2012 at Liv Aspen 2011. Joy has done work for Art, in downtown Aspen, Oblation Papers and Press The concept of interdisciplinary inquiry expands on this thought process, Colorado. Jennifer has taught letterpress shop, Flight 64 printmaking classes and beyond the technical component and into conceptual realms. This has co-op printmaking studio and workshops for CU-Boulder, always resonated with me, as I find strict borders and labels a bit stifling the Museum of Contemporary Anderson Ranch Art Center, to the creative exploration of an idea. Taryn McMahon explores the Craft. She is currently the CO, Arrowmont School of Printmaking Product Manager dimensional components of contemporary prints, as images are released Arts and Crafts, TN, Peninsula at Gamblin Artists Colors. School of Art, WI, and Ah- from the confining flat frame on the wall, and free to delve into the viewer’s Haa School for the Arts, CO. physical space. Conrad Ross analyzes the artist’s eye and how our brains Currently, Ms. Ghormley are trained to view and perceive the world around us. Crossing over telecommutes as the Programs Coordinator for the Venice technique and media platforms, as well as academic disciplines makes for Printmaking Studio, in Italy. a richer content and more expansive analysis through the vehicle of visual In order to embrace all of her art form. The nature of interdisciplinary inquiry goes hand-in-hand with creative urges Jennifer creates creative investigation and exploration. artwork under her own name, as well as Jen G Studios. 4 5 CONRAD ROSS was born in Chicago, Illinois in 1931. He received his BFA with high honors at the Fine Arts program at the University of Illinois in Champaign graduating in 1953. He received his MFA Contributors degree in 1959 at the University of Iowa, studying printmaking with Mauricio Lasansky. In 1960 he was awarded a Louis Comfort Tiffany Foundation Grant in printmaking and purchased an intaglio press. He secured a position in the Art Department at Auburn University in Auburn, Alabama where he remained until his retirement in 1997.
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