The Mid America Print Council Journal Volume 22, Numbers 3 & 4, 2014 Print Catalyst: Traditions and new forms for print language The MAPC Officers: TABLE of To read online or download PRESIDENT: print-your-own MAPC Journal pdfs visit Nancy Palmeri CONTENTS www.midamericaprintcouncil.org The Mid America Print Council Journal VICE PRESIDENTS: Volume 22, Numbers 3 & 4, 2014 Morgan Price Print Catalyst: Traditions and new forms for print language Jean Dibble

SECRETARY: Ellie Ronl LETTERS FROM PRESIDENT THE PROCESS OF CONCEPT - TREASURER: AND CO EDITORS Curtis Jones analyzes his personal Donna Stollard Nancy Palmeri, Jennifer Ghormley, struggle of discovery and finding Anita Jung, Kristine Joy Mallari meaning through an engagement amidst the process of the print medium.

CONTRIBUTORS Nicole Geary, Curtis Jones, Tim Pauszek, TO THE BUILDERS Melissa Potter, Samantha Parker Salazar, Tim Pauszek relates the strong tradition Tracy Templeton, Lucia Volker, and contemporary approach of Christopher Cannon woodblock to a culture of hard work and fine craftsmanship.

DIGITAL MATERIALS AND MAPPING WITHIN CONTEMPORARY PRINT IU MIDWEST MATRIX: CONTINUUM Lucia Volker discusses how printmakers are Tracy Templeton discusses the gathering futhering the medium and staying current of a diverse and interconnected group of in the art world. print artists, the traditions of Midwestern printmaking and its newest tradition.

PULP : RADICAL SOCIAL HISTORIES IN HAND PAPERMAKING MEMBERSHIP FORM Melissa Potter relates how the art of making paper by hand shares the ethos of the early movement and socially engaged art.

OSTENTATIOUS DISPLAYS: INTERVIEW WITH SAMANTHA SPRING PARKER SALAZAR companion mailer Nicole Geary examines how Salazar's work is motivated by a variety of decorative and MAPC 2014 Conference, Wayne ornate aesthetics to create unique spaces State University, Detroit, MI of interaction for viewers. By Christopher Cannon

On the Cover: Ellie Honl Herman, Westminster Ct.: Appearances Can be Deceiving.

Medium: screen print, acrylic, graphite, 8' x 8', 2014 Photo by: Lennie Mahler

1 received her MFA in 2006 from the NANCY PALMERI University of Nebraska-Lincoln. She Letter from the Editor: exhibits internationally through prints have been included in several international and national Printmakers never cease to amaze me in their hard juried exhibitions, exchanges, and venues. Recently, her work has been exhibited at the Istanbul invitations, and hung a solo installation work, dedication, and vast amounts of creativity. From Museum of Graphic Art (IMOGA), the Museo de Artes I 2012 at Liv Aspen Art, in downtown Contemporaneas Plaza, Bolivia, Proyecto’ace Buenos Aires, matrix to meaning, context to content, we are free to Aspen, Colorado. Jennifer has taught Argentina, and the Los Angeles Municipal Art Gallery, Los Angeles, explore and express through a wide range of visual printmaking classes and workshops CA. She is a recipient of the Frans Masereel Graphic Arts Center formats. In a recent lecture, a young student asked for CU-Boulder, Anderson Ranch Art fellowship in Kasterlee, Belgium and a Bogliasco Foundation Center, CO, Arrowmont School of Arts me “What is the role of a contemporary artist in the Fellowship, Bogliasco, Italy. She has presented at the Southern and Crafts, TN, Peninsula School of Graphics Council Conference numerous times, and has lectured art world of today?” As the wheels in my head spun, Art, WI, and Ah-Haa School for the and demonstrated her printmaking techniques at colleges and I could not help but relate this through printmaking. Arts, CO. Currently, Ms. Ghormley universities, nationally, including: the University of Cambridge, UK, Washington University, St. Louis, The inherent nature of our process is to honor the telecommutes as the Programs Pratt Institute of Art, New York, Louisiana State University, Baton Rouge, LA, Cornell University, Ithaca, JENNIFER Coordinator for the Venice Printmaking tradition while concurrently investigating and utilizing NY and Boston University, Boston, MA, and Murray State University, Murray, KY. Palmeri has had solo Studio, in Italy. In order to embrace all exhibitions of her work in New York, Boston, Louisiana, Texas, Italy, Chicago, and Virginia. Her prints GHORMLEY new forms and technologies. The articles in this issue of her creative urges Jennifer creates were included in Color Print USA, Lubbock, TX, and Global Matrix International Print Exhibition, all relate to this convention in unique ways. artwork under her own name, as well Perdue University Art Gallery and the Frans Masereel Graphic Art Center’s Jubilee Exhibition, Belgium. as Jen G Studios. She has also curated three exhibitions in The Gallery at UTA on the campus of the University of Texas at Arlington, Anthropology in Print, Pervasive Impressions: Contemporary Political Prints, and Foundations: Mechanics and Instinct. Palmeri’s prints are in the collections of the Fogg Art Museum, Harvard, Museo de Artes Contemporaneas Plaza, Bolivia, University of Colorado, Boulder Special Collection, University Art Museums, The Royal Museum of , Antwerp, Belgium, The Sheldon Memorial Art Gallery, Lincoln, NE, The Santa Barbara Museum of Art, CA, The Hunterdon Art Center, Clinton, NY, the Instituto per la Cultura e l’arte, Catania, Italy, the UCLA Grunwald Center for Graphic born and raised in the desert of west Arts, The University of Miami, and the Tama Art University in Tokyo, Japan. Texas. She studied printmaking at Letter from the Co-Editor: the University of North Texas and From the beginning, printmaking has always served moved to Portland, Oregon after graduating in 2011. Joy has done as a means to improve the status quo. Movable type Letter from the President: work for Oblation Papers and Press revolutionized the way the world communicated letterpress shop, Flight 64 co-op This year has been quite a journey for many of us. A number of our excellent and shared information. It's no surprise the world of printmaking studio and the Museum of printmaking is filled with problem solvers and creative membership have exhibited, lectured or taught across the country and world. Contemporary Craft. She is currently It is in the sprit of this adventure that I take on my new leadership role as the Printmaking Product Manager at thinkers. This innovation continues as we examine president of MAPC. Gamblin Artists Colors. the contemporary context that print media exists in. As mechanical reproduction increases, we find more As we all get back to our real lives after a wonderful conference experience meaning and heart in what our hands can create. As at Wayne State University in Detroit, I have had some time to reflect on the KRISTINE the rest of the world is speeding up and finding less excellent panels, demonstrations and exhibitions offered during the four-day JOY MALLARI value in what comes through the press, or a event. The level of dialogue and engagement in issues and ideas related to litho press, or pushed through a mesh screen, we find printmaking as a studio practice, pedagogy, theoretical and critical indicator, new ways to share our message and our stories. I'm and historical place marker was invigorating. Like me, many of us are looking excited to share this collection of essays that explores to the next conference in Indiana as an anticipated source of new discoveries, the different avenues that printmakers are embarking and a common-ground reconnecting point with students, colleagues, and to continue the historical innovation that print and long-time friends. print media is rooted in.

I would like to extend my thanks to the previous board for its excellent leadership and vision of our organization. Many of you have personally mentored me through the years and I am grateful for your guidance and care. Thank you to the new board members for your dedication to MAPC as it moves into future endeavors. Most significantly, my heartfelt thanks to all of is an artist and the Professor of the members, your works and contributions to the field are immeasurable. Intaglio and Printmedia at the Letter from Co-Editor: University of Iowa. Her work is I am an artist whose work is grounded in traditions eclectic and investigates the everyday occurrence of being of the readymade, appropriation and art as an a human being engaged in the everyday occurrence. Issues concerning making and world, She freely moves in and waste, along with relationships between technology out of various art practices. She and the human hand inform my work. Over the past is organizing a 2014 summer seminar investigating art as a three years I have collaborated with a building and its form of social practice. occupants through castoff materials from those CNC machines, records of incidental marks that I repurpose. ANITA JUNG

2 3 Contributors

NICOLE GEARY is an artist hailing from the green, swampy lands of north Florida, where she earned a BFA in printmaking from the University of Florida. She graduated with an MFA in printmaking from the University of South Dakota in 2013. She has exhibited in juried shows at venues including the Bemis Center for Contemporary Art, Spudnik Press Cooperative, and Washington Printmaker’s Gallery. Nicole currently lives and works in San Antonio, Texas as an adjunct printmaking instructor.

CURTIS JONES is an artist and printmaker living in Norman, OK. where he's an Associate Professor of Printmaking at the University of Oklahoma. He received an MFA from the California College of Arts and Crafts in 2003 and a BFA from the University of Washington in 1994. He works primarily in screenprinting, installation, and book arts and has pieces in several public and private collections. Jones' work explores his fascinations with (and the relationships between) perception, ritual, meditation, and obsessive behavior.

TIM PAUSZEK grew up in Dunkirk, New York on the shores of Lake Erie. He is currently attending Alfred University as a Bachelor of Arts candidate in Interdisciplinary Art and Chemistry. He has exhibited prints in the Turner Gallery at the New York State College of Ceramics, the Brick Studio Gallery at Alfred University, and in the International Exhibition of Contemporary Student Printmaking. He has returned to his former high school as a visiting artist in printmaking. Tim is currently working as a studio technician in the Brick Studio Gallery and a print shop assistant at the New York State College of Ceramics.

MELISSA POTTER is a multi-media artist whose work has been exhibited at venues including White Columns, Bronx Museum of the Arts, the VideoDumbo Festival, and Galerija Zvono in Belgrade, Serbia. Grants for my work include three Fulbright awards to Serbia and Bosnia Hercegovina, ArtsLink, the Soros Fund for Arts and Culture, and the Trust for Mutual Understanding. She is an Associate Professor and Director of the Book & Paper Program in the Interdisciplinary Arts Department of Columbia College Chicago. Her critical essays on art, particularly art in the Balkans, have been printed in BOMB, Art Papers, Flash Art, and Metropolis M among others.

SAMANTHA PARKER SALAZAR received her MFA from The University of Texas at Austin in 2014 and her BFA from Bradley University in 2011. She has exhibited both regionally and nationally, with large-scale installations at multiple venues in the regional Southwest and upcoming exhibitions in the Midwest and East Coast. She is currently the John Fergus Family Post-MFA Fellow and lecturer in the printmaking area at Ohio State University.

TRACY TEMPLETON became the Head of Printmaking at Indiana University in 2013. Previously she taught at Southern Oregon University, the University of Alberta, the University of Regina, and Illinois State University. Her work has been widely exhibited across the United States and throughout the world, including more than 100 exhibitions in Canada, Mexico, England, France, Germany, Italy, Turkey, Egypt, China, Bulgaria, Poland, Russia, Japan, Malaysia, and South Korea. Templeton has won Honorary Mention at the Seoul Print Biennial and third place in the Great Canadian Printmaking Competition as well as being awarded numerous artist grants.

LUCIA VOLKER attended the University of Utah in Salt Lake City, UT and received her BFA in Printmaking in Spring 2012. Post graduation she began printing at Saltgrass Printmakers in Salt Lake City, UT. In 2013 she became an Education Assistant for CUAC, a nonprofit contemporary art gallery in Salt Lake City, and taught art classes for preschool and elementary aged children at the Salt Lake City Main Library. She had her first solo show in June 2014 at Lil’ Gallery in Salt Lake City, UT. She now lives in Portland, OR.

4 7 materials and techniques even further, to 1.1 Lucia Volker, Neighborhood #2, 2013, 1.3 Lucia Volker, Neighborhood #4, (detail) best explain their personal narratives and 11"x14" screenprint 2013, 11"x14" screenprint Digital Materials and Mapping social commentary. Technology has 1.2 Erik Waterkotte, Calling for a Signal, 1.4 Erik Waterkotte, An Abridged Equinox positively affected the printmaking 2013, silkscreen and digital prints on installation, 2014, dimensions variable process from research, production, and mylar mounted into lightbox frame and installed 23"x33"x4” Within Contemporary Print documentation. New and old processes Lucia Volker must continue to build upon each other to keep printmaking relevant in the modern world.

1.2 1.3 IN CONTEMPORARY ART THE IDEA recent work Waterkotte is combining Some of these marks and textures can informs the process. Many artists are digital output with screenprints, mounting be achieved only through traditional not married to a specific material, and them in light boxes and illuminating the methods of intaglio, lithography, relief, allow flexibility within their work for new work from behind. The images in the light and photographic processes. Camnitzer mediums depending on the concept. box look like a computer monitor, but they is a perfect example how of printmaking Printmakers have an enormous of range are comprised of handmade elements that is still relevant in contemporary art in the of techniques to choose from, expand on, link the history of the hand pulled print to way he blends new, old, found and digital. and blend together to create personal the digital age. Waterkotte is commenting narratives and social commentary, which on the current relationship between new The idea of examining place through is critical in contemporary art. Combining and old ways of making images, and how personal experience and found materials new digital processes with traditional technology has completely saturated in continues to grow as a concept. Artists print techniques, and using alternative art our daily lives. are constantly trying to make sense of making materials is how contemporary their surroundings and figure out how printmakers are furthering the medium Conceptual artist and contemporary they relate to the rest of the world, and staying current in the art world. printmaker Luis Camnitzer incorporates especially with the constant bombardment print, photography, , and sculpture, of social media and advertising. Map Technological advancements have always and frequently uses photogravure and making is a historic tradition that clarified been important in printmaking because engraving in his work. He is very intentional geography in a world that was largely it has always been a way to produce and with use of material, and examines the unknown, allowing people to explore disseminate materials quickly. Historically, idea of repetition and multiples through and move forward. Today artists are artistic use came second. Relief and the print, while addressing social issues. still making maps for the same reason intaglio printmaking were created to Printmakers have an advantage to art making of charting the unknown, however the reproduce literature and religious text to because of the diverse range of techniques unknowns have changed. be received by a wide audience. Offset and materials available. Through mixing lithography and eventually Xerox copiers different print processes artists are able to In my own practice I am fascinated by were invented to print multiples quickly create a range of marks and textures that the relationship between people and at a fraction of the cost. Today many are visually unique to the medium. place, making map-like images that show artists are examining the aspects of print growth, regeneration and community. that relate to spreading information I use the idea of a neighborhood to through the speed and ease of digital, represent groups of people linked while exploring personal narratives. together by geography, and I frequently Part of this is artists using all aspects of look at Google Earth, and use SketchUp printmaking to make their own materials for making architectural models. The and supplies, and using various input and internet has made it very easy to access output processes to experiment. Some a vast amount of information, and it offers artists use technology to test colors, many new tools to assist the creative compositions, and paper, and then use a process. Artists are charting, tracking, traditional method to create the matrix; and mapping different aspects of life others intentionally insert digital and and contemporary culture to try to grasp photographic elements in the final piece. some sort of solid meaning within the Digital printing has also enabled quicker flux of information. New programs are large format printing for installation and helping artists to organize some of that three-dimensional works. information visually.

Artist Erik Waterkotte combines collograph, The collective examination of traditional intaglio, collage and digital images together processes and the use of digital media to create mixed media prints, often using has inspired printmakers to push the limits digital prints as the base layer. In his most 1.4 1.1

7 Pulp Feminism: Radical Social Histories In Hand Papermaking Melissa Potter

FOR DECADES, I HAVE BEEN MAKING the Chicago settlement house crafts full-time artisans. The program also art at the strange intersection of feminism tradition, in particular the Hull House differentiated between “workers” and and hand papermaking. Neither did much bindery, where Ellen Gates Starr explored “artisans,” infusing project goals with for my career at the New Millennium the way hand labor could help workers creative potential. They accepted women in New York—Earnest was out, Hipster overcome the alienation of mechanized on their terms, which included drug cynicism was in. Hand papermaking, the labor. One project in particular that addiction, long-term poverty, and mental stepchild of the stepchild (printmaking) exemplified this kind of perspective was health issues. WomanCraft's founders of the art world, was only acceptable in a Chicago-based micro-industry initiative were trained both as artists and workers the gallery context and even then, hardly called WomanCraft, a program offering and were interested in the “dynamic ever considered in major exhibitions. transitional employment through an tension” between materials and labor. Often described as a “feminine” medium, artisan-run hand papermaking business. The primary material they used for pulp papermaking by hand indeed has many WomanCraft’s Founding Director, Nancy was waste paper. The project leaders saw women practitioners. In fact, the art of Phillips, studied with Marilyn Sward, and it a connection between such paper, which making paper shares the ethos of the was through this experience that Phillips could be reused for art, and the homeless early and socially realized papermaking was an excellent WomanCraft artisans, who despite being engaged art: collaboration, hand labor, medium for the WomanCraft social social outcasts, were able to work on their and process over product. And just like enterprise program. Despite more than terms regardless of their employment and early feminist art, these are many of the thirteen years of project success, only one personal challenges. Brides-to-be, who reasons it remains in the margins of art review of the project in Hand Papermaking counted among WomanCraft’s clients, history. Although a recent interest in Magazine considers its impact and no collaborated directly with the project’s feminism sparked important historical other significant discourse was generated artisans on their wedding invitations. In surveys, including recent film and by Chicago artists and critics. fact, the program enjoyed considerable cataloging of the Heresies Collective success as a forerunner of the eco- publications (to which Riot Grrls and “...Earnest was out, wedding movement. In 2009, it even won artist book makers owe a huge debt), we Chicago’s prestigious Greenworks Award. are only beginning to consider so much Hipster cynicism The project shared many of the tenets of undocumented and unreviewed material. was in.” early feminist social practice, especially the It is exciting but daunting, and it is sad idea that art, work and life are inextricably too, as I learned early in my feminist career I was genuinely surprised WomanCraft, bound together and that labor and power at Rutgers University, neglected archives which fits so many of the criteria for can be redefined as a transformational are often lost forever. My experience socially engaged art, had never entered metaphor. Coupled with human services co-curating Social Paper: Art in the the social practice conversation. The goals these ideas helped WomanCraft Context of Socially Engaged Art this WomanCraft program operated from 1998 evolve over more than a decade during past spring revealed many of the same to 2011 and lived both its ideals and its one of the stormiest economic crises challenges. Much later, as a graduate contradictions. It served as an employment in U.S. history. As I began to dig into program professor of hand papermaking program for homeless women, a socially the Chicago art world for material on 2.1 at Columbia College Chicago Book & engaged art project, and a participant in WomanCraft and other similar projects, I through consciousness American and members of came to Chicago to create Full Circle for Paper, I began to contextualize the such civil disobedience actions as the 1970 quickly discovered that my frustrations raising, street actions, and programs to AfriCOBRA, offered a feminist forum for the groundbreaking exhibition, Culture radical culture of papermaking in a course Miss America protest and Mierle Laderman over the lack of feminist discourse from promote equality. Almost immediately women of color. The legacy continued in Action, feminism was not broadly called History of Paper. I was further Ukeles’ manifestos about “maintenance my early years in New York were renewed following, the Chicago Women’s Graphics through the decades with organizations contextualized as a major precursor interested in connecting papermaking art.” WomanCraft was founded on the in Chicago. What I came to understand Collective in 1970 became the artistic such as WomanMade Gallery; and yet, to socially engaged art. It is puzzling, to the Chicago socially engaged art principle that hand papermaking is is that Chicago, although heavily interface for the Union's silk screening there has never been a major museum especially considering Jenni Sorkin’s scene, especially since founder of the relatively easy to learn yet challenging invested in social practice discussion, is political posters. The Chicago feminist survey of this work, even after “The Year of thoughts in her WACK! catalog essay: Center for Book and Paper Marilyn Sward enough to keep its practitioners engaged not particularly invested in a feminist art collaborative, Artemisia Gallery, was Feminism” buzz around the 2007 WACK! At no other time during the 20th Century embraced the transformative nature of and inspired; also, the program held to the dialogue. It isn’t for lack of feminist founded in 1973, like its sister collectives, Art and the Feminist Revolution exhibition. were the terms of engagement so hand craft labor in a collaborative studio belief that it could evolve into a successful activity: In 1969, The Chicago Women’s A.I.R. Gallery in New York City. Sapphire Although one of the most important differentiated from traditional definitions environment. The Center flowed from business—which it did, employing six Liberation Union joined the national and Crystals, a collective for African feminist performance artists, Suzanne Lacy, of artistic success. In its diversity of

8 9 pockets, groups and open circuits, Julia Pastrana was exhibited feminist collectivity carried with it a internationally as “the Ostentatious Displays poignant declaration of resistance, ugliest woman in the world,” allowing the fleeting aura of collective due to her hypertrichosis An Interview with Samantha vision to linger, ultimately exceeding condition (an abnormal individual contributions. amount of hair growth Parker Salazar covering the body). She Nicole Geary So where do we locate a feminist-inspired, died in Norway, where socially engaged hand papermaking her remains continued on project in Chicago? The WomanCraft display and ultimately were project operated alongside other dismembered in pieces, papermaking micro-industry initiatives along with her baby who internationally, many of which embraced died as an infant, all ending the same goals and values of feminism up in basement storage. AFTER SEVERAL DISCUSSIONS ON SPS: It started when I stopped making work. It made me think of the paper matrix and social practice. In a response to Through an interactive hand the topic, Sam and I are pretty sure that prints. That happened on the cusp of as an object in its own right and not just exclusionary practices of the art world, papermaking workshop in we met in Chicago in 2009. Though going into graduate school. I was working something for the art to sit on top of. Also feminists' art sought to redefine artistic conjunction with the Social 2.2 we aren’t quite sure how our friendship with fabric and doing , cutting it was more challenging for me to create practice through a radical rethinking Paper exhibition, Language even perhaps primary reason the interest began, our lives had briefly crossed paths printmaking out of my practice for nearly something that could enter our space of collective vision and art objects. + Labor, Columbia College Chicago in feminism crescendoed in 2007 with the again in central Texas. In the following two years. I used found materials, fabric, rather than for us to enter its space. Consciousness raising, the methodology graduate students explored Pastrana's www.sites.moca.org/wack/"WACK! Art and interview, Samatha Parker Salazar wood, and plaster and dabbled in all that came to epitomize the movement, legacy and the ways in which our language the Feminist Revolution exhibition. The describes her work as Texas Baroque. In of it for a while. It was halfway through NG: What are some of the printmaking inspired legions of feminist artists and can both shape our cultural biases and show, Social Paper, is a modest beginning choosing a title for this piece, I pondered grad school that I started getting back methods you use to create your collectives and remains one of the transform them. The works were installed to what we hope is an investment in the the full stretch of this statement – into paper again. All that knowledge in installations? You mentioned that you primary tactics in socially engaged art. A in the Columbia College Chicago radical history of the hand papermaking overly sumptuous, richly colored, and sculpture made me super comfortable don’t actually screenprint anything, number of these projects featured in the Papermaker’s Garden. movement before it is too late to properly ostentatious displays of drama. A little working with paper as a malleable material which I found surprising. Social Paper exhibition reveal interesting record it. Social practice under the rubric like the TV show "Dallas", but with more – it became another thing to draw with – parallels to WomanCraft and share While recognizing that the current rise of feminism offers a new context for awareness. Perhaps this is what it's like another thing to make a line. SPS: I don’t screenprint a thing. I use the the collective action as artistic process in social practice discourse helps us works once relegated to the categories of to be enveloped by Samantha’s work, a etching press from beginning to end. To and material. Trisha Martin and Loreto locate and record important cultural “activism,” “social work,” and “art therapy,” Texas Baroque installation. NG: I can imagine one of your begin the process of forming each paper Apilado’s program, “The Great Woman contributors such as WomanCraft, the lack which are interpreted by the status quo as engravings coming to life. component, I will do several and Project,” works with underemployed of inclusion of the feminist art movement “not art.” Such practices provide powerful NG: Can you talk a little bit about then when one is finished, I will cut out women in a rural region of the Philippines in socially engaged art discourse belies a alternatives to our evolving art landscape how your more “traditional work” SPS: Engraving already has that literal all of the negative space. This drawing is creating handmade paper for sale to profit transparent desire to maintain the status and a society that now more than ever transitioned into these 3D forms. Did physicality to it. I think I was enamored by usually made on a heavier weight drawing their community. Martin worked with quo. Today, scholarship and archival needs to rethink its values and approaches it start with printmaking? that. I wanted to see what else I could do to paper, and will act as both a stencil for the project artisans to design handmade material on women are in crisis not only to culture. Through its feminist and socially bring three-dimensional properties into the monotyping and an element in the final paper products for both local and due to their long-term neglect, but also engaged incarnations, hand papermaking installation. I start with one of the gradient international markets, and for the Social to the drastic defunding of the arts today. challenges the paradigm of art as colors rolled out onto plexiglas, and place Paper exhibition, she built a traditional In the late 90s as a graduate student at commerce and power and offers a new the drawing down onto the flat, then print Filipino roadside stand for these artisans to Rutgers University working for my MFA, I vision of individual experience, a space it on a large sheet of printmaking paper. sell their works. The proceeds were wired collaborated with Laura Cottingham, a for collective memory and alternatives Then I will use the same flat, with the ghost back to the community. Kiff Slemmons feminist art critic and historian, while she to prevailing histories. The Social Paper of that stencil still on the plate, and place designs and creates high-end jewelry with was curating her exhibition, www.apexart. Exhibition offers us the opportunity to another drawing on top of it. I will print a group of women artisans in Oaxaca using org/exhibitions/cottingham.php Not For claim new histories as our own and carve this color again onto another sheet of handmade paper produced at an atelier in Sale: Feminism and Art in the USA during out a rightful place in the socially engaged paper, which now has the embossment of Mexico. It too offers income, generating the 1970s. It was a formidable challenge: art movement. As the feminist movement the second shape and the ghost onto the opportunities through artistic expression. it wasn’t just contextualizing the work to reminds us, we only have half the story. second print. Working in this manner, I can Eileen Foti’s documentary, A Ripple in the suggest that it is the primary movement build up several layers of gradient color, Water: Healing Through Art, features the defining contemporary art, but it also was shape and embossment onto the drawn visionary Kim Berman and her Artists Proof a preservation project. I had the great stencils and monotypes. All of these will Studio, a South African print and paper privilege of watching some of the most be used as material for the final installation. collaborative space for people touched compelling video projects in graduate Some installations have additional digital by the HIV/AIDS epidemic. Such feminist school, which I regrettably no longer can work or other mixed media incorporated and activist tenets are also evident in the source. Some have been digitized, but into them based on the specific site. For work of featured artist Laura Anderson Cottingham reminded us that we were example, I used bright orange flagging tape as one of the elements in CRASH at Barbata’s, A Homecoming for Julia. The seeing a mere fraction of this work. It 2.1 Trisha Martin: Great Woman Project, work highlights Barbata’s journey to bring is still languishing ... moldy, neglected, exhibition installation, 2014. Anya Tish Gallery in Houston, which carried dignity to a Mexican national through locked in a barn in upstate New York. Now the color and texture of the piece. 2.2 Sister Serpents collective, image repatriation of her body to her homeland. that I look back, I realize she is a huge, courtesy of Mary Ellen Croteau 3.1

11 NG: Where does the inspiration of the outside; the exterior of the paper organic way. Not only that, you added lifecycles come from? for it was grey and I printed red on the these gorgeous ruffles to the front for interior. In that case I was thinking about this little extra something special. And SPS: It could be something as simple as the paper as skin, the graying of the you’ve beaded it as well. But it’s not the growth and death of a plant to cosmic skin as the person slowly dies, yet the over the top at all. When you look at lifespans. I think I arrived at that through reds and pinks on the inside hinted at it, it’s beautifully elegant. the meditations that I was doing during lingering life—a small hope or potential. my time at Bradley. Oscar [Gillespie] SPS: [Laughing] Who would put ruffles and I used to meditate together and we NG: As far as scale is concerned, how with embroidery and beading? continued that throughout most of the do you use it to tell your story? Your time I was there. It just got me thinking installations seem to have such a NG: You would! You wouldn’t ever differently and considering new aspects stop at a one—or two-color palette. presence. They are not flirtations on 3.3 about the world around me. I was thinking the wall—they really come in contact There is no simple solution for you. NG: It actually sounds like you’re more about how things begin and end, with the viewer. and wanted to express that with a material. describing an opera where you’re SPS: That is why I was so in love with Paper is the perfect medium because SPS: The way that I consider scale is the playing all the parts. cutting up the paper. It was a way to at one time I’m creating an image, or relationship with the viewer. The piece I fight that overindulgent way of making SPS: My practice is performative, for a sculpture, but at the same time I’m did about my grandfather’s cancer was things. Before I started cutting and sure. And for that reason, I’ve heard from destroying an object. I’m cutting it apart, to be viewed from both a first floor and working reductively I would pile things people that my work is very baroque like the removal of a tumor from a body. a second floor vantage point. It was up and make these huge, clunky, bulbous because it has that drama and intensity I’m using a surgical scalpel to take it all really tall vertically, but also it didn’t feel objects. It was too much. Any of the and it’s very indulgent. I do relate to that out. It’s like this excavation, you know? so tall when you were looking at it from sculptural stuff that I made didn’t have the style a lot. Maybe I’m like Texas Baroque The process is a formation, and also a the second floor. It was not really wide cleanliness and finesse that my drawings or something. deformation. It’s additive in that it’s all or dense; it had this long flow. It was had. The images were active and full of sheets of paper coming together to make more about a one-to-one relationship line and movement but it was all in one NG: Maybe because of that, color an image but it’s also subtractive. I like between the object and the viewer. material language. But the printed work seems to play an important role in each the inherent dichotomy of my work being alone was not satisfying to me­—it was of your installations. Can you speak a a beginning and an end – a birth and a They definitely are not flirtations with too easy to figure out the square. The little bit about how you choose color death—the same way that things happen the wall. When I make a piece, my bets sculptural stuff presented new physical for each project? in the universe. are all in. To be honest, there is certain and compositional challenges but I hadn’t intensity behind the way that I work. yet found the right medium. Plaster and SPS: The process of choosing colors For example, one piece could be about Every single time I hit the studio, from wood were too stiff and heavy; fabric begins with cutting up paint chips I’ve the cosmos, and one piece could be the music I listen to, to the thoughts that was too limp and shapeless. I just had to hoarded from hardware stores. The paint about the body. I made an installation are kind of flowing around, it’s intensity. figure out how I was going to have my chips collages help me get a sense of that was based on my grandfather’s It’s drama from beginning to end. And drawing and sculptural sensibilities come overall feel for the piece and keep me leukemia [Leukos-Haima]. That one was I rev myself up for it. I get myself hyped together, and paper was my material. organized and on track. I also draw out meant to be viewed from the inside and up every time. I drink a big coffee. I sketches with arrows pointing to where listen to loud music. Samantha Parker Salazar’s work is certain colors will go. I have to be excited motivated by a variety of decorative about the color palette because I’m going NG: It’s almost as if this isn’t work and ornate aesthetics that create unique to be making these prints for days and to you, this isn’t a daily routine, but spaces of interaction for viewers. Her months on end. Normally I work in highly you’re transcending a normal plane of meditative practice and printed work 3.4 saturated hues. I’ve been really crazy existence and connecting it with your come together in a unique way to about gradients lately so right now I’m 3.1 Samantha Parker Salazar, Skyview 3.3 Samantha Parker Salazar, CRASH meditative practice. generate an elegant language that is 837 v.3 . intaglio, cut paper, plexi (detail), Ostentatious Displays working on one that goes from bright, distinctly indulgent, yet sophisticated and rod, paint, drawing, digital. variable exhibition. monotype, cut paper, almost white turquoise and moves to a dimensions, 2014 paint, drawing, flagging tape, digital. SPS: It’s like something that makes my full of nuance. To be enveloped in one of dark, thalo green-black. Mixing color in variable dimensions, 2014 heart beat faster every time I work on it, Sam’s installations is to stand in the center 3.2 Samantha Parker Salazar, Skyview the print shop is really exciting to me and from the printing of it to the installation. of a modern expression of the Baroque. 837 v.3 . intaglio, cut paper, plexi 3.4 Samantha Parker Salazar, Leukos- But in contrast to all that, when I’m it keeps me involved. I can work on one rod, paint, drawing, digital. Haima (v.2). intaglio, drawing, digital part and investigate that hue and value variable dimensions, 2014 collage, paint, wood, flagging tape, sitting at the kitchen table working on wire. variable dimensions, 2014 the cutting of each piece, it’s a much and move slowly throughout the form to more contemplative state and it’s a lot investigate other tonal varieties. I just like more serene. Again, there’s a dichotomy to have a complex color palette. of intense drama and expression to a super calm, meditative state and NG: Speaking of complexity, you‘re repetitive action. It allows me to tap into constructing this dress right now for multiple ideas and thoughts. your daughter, and you’ve got this beautiful form where the black fabric meets the embroidered material in an 3.2

12 than a doodle. I’ll try a paper-folding The project I’ve done that probably best while also pointing out a reason to make The Process of Concept exercise and want to refine it, make a mark illustrates this is called Making Light with them. I had no clue what that solution Curtis Jones in my sketchbook and keep repeating Things. I started working on it almost might be. it until textures and patterns form, or a decade ago and continue to show it stumble on a new way to generate a whenever there is opportunity. It began Getting Found more interesting halftone and spend days with the simple idea of making party hats seeing how many variations are possible. because the form was interesting in that Fortunately, I didn’t feel the need to Each individual notion carries little weight it suggested joy and festiveness. I had find the solution right away, just happy on its own, except that I find something recently lost my mom, who was a very to keep printing, looking, and assessing GENERATING CONTENT HAS ALWAYS about it fascinating enough to go through funny and joyous person. I wanted to —letting the repetitiveness and rhythm of been the most difficult aspect of the the process of making it over and over. celebrate her memory in some way and screenprinting occupy me while I mulled creative process for me. It’s not that I lack There’s almost never anything resembling making party hats seemed like a good over the direction of the project. This is interests, passions, life experiences, a a concept involved at this point. place to start. the true gift of printmaking; its ability sense of identity, attitudes toward culture, to lock one into a series of repetitive, knowledge of art and its history, or any of Working in this manner, I eventually find Before I knew it, I had a few hundred ritualistic processes that are each only the other “go-to” wells from which most a modest accumulations of odd things miniature party hats, but no real idea what loosely related to the end product. I’m not artists draw their inspiration. It has more but only a tepid understanding of what to do with them. They started small with actually engaging with the final object as to do with my own tendencies toward they mean or what I can do with them. the intention of making them in various I contemplate its meaning and direction, self-sabotage and the fact that if I have The end may be nowhere in sight, but if sizes. These first ones were too small to but rather, coating screens, printing an idea of what I’m working toward, I the journey is enjoyable enough to keep actually function as party hats, but they transparencies, reclaiming images, and tend to lose interest before I get there. taking the next step, I will. If I really am did have an intrinsic value merely as pinhole-ing stencils. True to form as a I’ve often wished for a more disciplined onto (or “into”) something, I quickly find objects, partly due to the patterns, colors, doodler, I’m a much better contemplator mind, but for survival’s sake I’ve always myself in production mode. That’s when and designs printed on them, partly due when not confronted with the goal of had to compensate for the one I have. printmaking, with all of its necessary rituals to their miniature-ness. Observing this, having to contemplate. In short, I think and wait times comes to my assistance by I wanted to find a solution that would better when I’m distracting myself. The Fortunately, I developed an affinity allowing time to figure out the content. preserve and utilize their uniqueness more repetitive and automatic that thing for printmaking early on. Printmaking slowed me down. It presented a variety of materials and processes that largely dictated the way my creations would look 4.1 and function. It also provided a series of The environment and the people didn’t what was on the page until it became small tangible steps to follow as I worked seem to allow anything else. what it was meant to be. This notion and pushed me to start viewing the entire reminded me of my own incessant creative process as an incremental one. The moment that transformed this doodling. Growing up with learning Printmaking not only showed a way to enjoyment into something tangible came disabilities, I had been doodling my get around my self-destructive tendencies, in an early intaglio classes. Based on way through school for as long as I it taught me how to employ these the drawings I was showing her, Shirley could remember. The idea that I could tendencies in my support. It got me past Scheier suggested research into the work turn an activity to shut out the world anxieties about content and guided me of painter/printmaker Jim Nutt. I had and escape into the focus of art was toward deeper and more satisfying forms always been attracted to “weirdness” (for extremely liberating. My approach of expression. lack of a better term) and his art was changed almost immediately and soon definitely that. His narratives were lucid found that I was making prints hand over Going Nutts but ambiguous and seemed beyond the fist. All the anxiety that had accompanied scopes of reason, logic, or dogma. They By no means did I experience a my creative process lifted and I was put were also immaculate. Even if he didn’t breakthrough the first time I stepped into on the path that would eventually become know what he was saying, he was saying a print shop. Early prints at the University my life’s work. it with every ounce of sincerity, effort, and of Washington were just as much of a skill he could summon. Getting Lost struggle as anything else I was attempting at the time, but the work was enjoyable. His work drew me in, but it was in I say “on the path” because Jim Nutt It was fun being in an environment that reading what Jim Nutt had to say about and automatic drawing mostly provided was alive with music and conversation. his creative process that I found what the push I needed to get started. The In the other studios, I always felt like I was I needed. He liked to talk about the force that has sustained my work since in some kind of awkward endurance test, Surrealist/ Dadaist affinity for automatic has been printmaking. immersed in the thick and serious silence drawing and said that that was where his that was apparently necessary to create art came from. He would start drawing While I haven’t used doodles to form the and sculptures. In the print shop, figures without a formed idea of where he basis of my work for a while, the things I couldn’t help but feel relaxed. was going and then obsessively react to I still start from are rarely more involved

4.2

14 15 is, the better, because it uses less and less of printing and preparing the party hats My work is part of that process and active thought. Screenprinting is about as versus the speed and immediacy of the printmaking is the vehicle that helps automatic and repetitive as it gets for me. pencil stroke on a piece of paper. It’s the me do it more effectively. To The Builders difference between contemplation and Tim Pauszek With Making Light with Things, this reaction. Both are important, but I find deliberative process came together over that the processes of printmaking push me My creative process and the reasons for the course of several years. It was a busy toward the former. I doubt my work would it are very similar to other printmakers I time in my life; I got a job, relocated, have many contemplative qualities if not know and admire. John Hitchcock and started teaching, figured out how to teach, based in printmaking. Without locking it Ryan O’Malley use the ”make a bunch and began dealing with all that goes into into some form of protracted process, my of something and figure out what to do MY RECENT SERIES OF Print media opens doors to other art and curse the awful hole in plywood the tenure process. But throughout this, mind just doesn’t work that way. with it when I get there” strategy. Sean prints illustrate several stories told by practices, removes prints from the I took time to print miniature party hats StarWars talks about how the resistance that caused the veneer to fall out when my grandfathers from when they were gallery walls and into the world. Some whenever possible, figuring out where the Faux Conceptualism and the Power he gets from his materials slows him we carved too deep and take half of young and working in the steel plants in favorite examples are the tent city project was going as I plodded along. of Process down and makes his drawings better. the image with it. Simply draw, scan, Western New York. One of these stories by Cannonball Press, the woodblock Students frequently pick up on one Photoshop, lase, edition, and sign. depicts my grandfather playing a printed shirts in Drive By Press’ mobile Many people frequently ask how I come up unintended aspect or other of their prints With the ease that throwing traditional drinking game with his friends where he print shop, Dennis McNett parading “My process treats with ideas, the assumption being that the and then rearrange their whole strategy practices to the wind offers, one might had to drink a glass of beer containing art cars in Houston, and Viking ships whole thing is worked out prior to starting. to try to reproduce it. The dialogue we ask why anyone carves a block by hand concepts as a goal, two raw eggs as a consequence of down the streets of Philly, and college I think this is because in the age of have with our process defines us as artists to pull a print anymore. I believe the losing the game. Making these images students and professional printmakers not an origin.” conceptual art, we assume that a concept as much, if not more, than the things we reason is in the power a hand carved about family history and the history everywhere running over bed sheets is always the central guide, driving the try to say with them. If making art were image brings along with it. Sure, The of my home recalls the type of men with steam rollers left and right. The answer didn’t come as a single eureka artist toward their brilliance. When people just about trying to get concepts across, Four Horsemen of the Apocalypse and women that have influenced my Printmaking is alive and well; by no moment; it came in pieces. I first noticed learn that I don’t really come up with th ere would be little reason for it to would still be an awesome print if personality and art practices. These means is the field stuck in the past and that the hats could be used together to concepts as much as I arrive at them, it engage with materials at all, we could Albrecht Durer had access to a laser, reflections allow a deeper look into why struggling to come up with something create an image. I then spent months confuses them a little. It’s understandable; just say it or write it down. What makes but the piece has the power of a strong I make the work that I do, and why I’m new. That being said, in ach of these considering what that image might be. by the time a piece comes together, it art interesting is how ideas, individuals, image and the power of a refined craft. attracted to a certain type of prints. cases, someone is carving a block by Eventually, idea unfolded to use them to tends to come across as “conceptual”. It’s processes, and materials come together hand and slaving away over a piece That is why the tradition of carving in create portraits of soldiers who had died usually simple, straightforward, and has to generate ideas that go beyond the Being a wood block carver, and of wood, sometimes for only a couple woodblock printmaking has stayed in Iraq on my birthday. That was the result an idea to convey. But that’s all the result reach of language. Without printmaking, like many other printmakers past hours of fun and a handful of prints. It strong, because of the people who still of extended contemplations on my mom, of being a printmaker, absorbing myself I don’t know that I’d be able to do that. and present, I carve everything by is a relation back to the workers with what humor meant to her, how she taught in process, and not worrying about pre- respect the culture of hard work and hand. This is a reflection of growing whom I grew up, those who put in the me to utilize humor during difficult times, conception. My process treats concept as fine craftsmanship. I will continue to up in a small town with a history of hours of work to practice a craft and asking myself what was difficult about the a goal, not an origin. run my tools across a leather strop and hard working blue collar men and refine their skills, all the while having times I was in, and on and on. All as carve blocks by hand. Like the builders women who built quality products in a good time. While there is no lack I printed and assembled little party hats. Not being blessed with the type of before me, I am fine with putting in a locomotive factories, steel plants, and mind that grasps implications right away of innovation in printmaking, there is little elbow grease, because after an other industries that have come and The only difference between this and and sees intelligent solutions, I have no lack of appreciation for traditional eight-hour shift a beer tastes a little gone. Although these professions the automatic drawing process is the the concentration of a six year old in a practice either. better. Please hold the eggs. no longer exist in my hometown as a time frame. Both are working toward the toy store and am prone to going off on result of economic decline, the culture Of course, there are laser cutters discovery of a solution as opposed to tangents. But instead of letting these traits of hard work and fine craftsmanship is whipping out photorealistic blocks that the manifestation of a preconceived idea. define me, I’ve always been compelled still present and has instilled in me an are ready to print faster than one can It’s all about the slowness of the process to understand and overcome them. attitude of “if it’s worth doing, its worth sketch out a design, and this is where 4.1 Making Light with Things, doing well.” I draw my subject matter I see the disconnect. No longer do we (installation view), screenprint and watercolor on paper, hand cut, out of admiration for the workers, and as printmakers need to draw our design assembled and arranged, practice my craft out of respect for the backwards, contend with dulling tools, central installation size 56"x56", builders. In this way I am connected to accompanying images 30"x30" each, 2009 the tradition of the steel worker and locomotive builder, though 4.2 Making Light with Things (detail), I am neither. screenprint and watercolor on paper, hand cut, assembled and arranged, installation size 56"x56", 2009

4.3 Making Light with Things- Army Pvt. Oscar Sauceda, digital print, 30"x30", 2009

4.4 Making Light with Things- Army Staff Sgt. David C. Kuehl, digital print, 30"x30", 2009

4.3 4.4

16 City, IA), Michael Krueger (Lawrence, KS), Karen Kunc (Avoca, NE), Carrie Lingscheit (Chicago, IL), Joseph Lupo (Morgantown, WV), Kristen Martincic (Roswell, NM), IU Midwest Matrix Continuum Danielle Peters (Emporia, KS), Roxanne Tracy Templeton Sexauer (Long Beach, CA) and Star Varner (Georgetown, TX).

Dennis McNett, a former student of Goldman’s, visited for five days in August to create an installation piece in the Center Space at the Grunwald Gallery. THE SUCCESS OF THE DOCUMENTARY Indiana University’s three day symposium, His installation, titled Wolfbat Offerings: Midwest Matrix® by Susan Goldman is Continuum, included a screening of Blooming Grove and the Luck of the well known in the printmaking community, the film at the IU Cinema, exhibitions, Cardinal, focused on the Cardinal as an internationally recognized artist and lectures and workshops that examined the Indiana state bird with a history rich Director of Lily Press in Rockville, MD. not only history, but also the ever-evolving in mythology. His project, exemplified Goldman created the film to recognize identity of Midwest fine art printmaking the Midwest tradition of printmaking and educate about the history and legacy continued by subsequent generations of through this collaboration with students of fine art printmaking that developed artists. A selection of artists taught by the at Indiana University during a rigorous 5.3 in the American Midwest after WWII namesakes featured in the film, such as workshop to create his installation. to the present. The rapid growth and IU’s own Professor Emeritus Rudy Pozzatti, impact that Midwestern art departments were highlighted as well as some of their It was exciting to see this diverse but artists and teachers. The workshop is a experienced largely as a result of the GI mentees that are continuing this strong 5.2 interconnected group of artists exhibit community that has fostered both tradition Bill, fostered arts education, establishment legacy and further proliferation with together at IU. When I began as the new and innovation, and is unique to the of the MFA, and spread the development active careers and exhibition records. This Head of Printmaking in fall 2013, I never practice of our discipline,” emphasizes of outstanding studio arts programs grouping comprises an extended family imagined such an immediate and direct Wendy Calman. The IU Art Museum hosted two on a national level. Midwest Matrix® that has dispersed to all corners of the opportunity to engage in this rich and exhibitions during the symposium The Continuum artists explore timeless has enjoyed great success, premiering nation and is recognized internationally. powerful history. Through consultation that served as the historical basis as well as contemporary issues of art at the University of Iowa in 2012 and Their connection to the original influences with Emeritus Professors Ed Bernstein, for numerous events. The One Hour history, science, technology, experimental continuing to venues and symposia such of the European expatriates who served Wendy Calman and Rudy Pozzatti and Exhibition: Echo Press highlighted works processes, psychology, nature and as AMoA BIENNIAL 600: PRINTMAKING as catalysts of the post WWII ateliers the support of co-organizers, Grunwald from the internationally recognized fine distortion, and also continually examine in Amarillo, TX, the Inland Visual Studies and departments, are underscored in Gallery Director Betsy Stirrat and Nan art printing workshop that operated in the question: What is the Midwest Center Symposium at Bradley University in the film. In a global context and from its Brewer, I heard the history firsthand and Bloomington for seventeen years. Special tradition and future of printmaking? Peoria, IL, Print: MKE 2013 in Milwaukee, overseas origins, the legacy and creative explored present connections seamlessly 5.4 guests and former master printers WI, IFPDA Print Fair in New York, and the engagement comes full circle as the with contemporary artists suggested David Keister and assistant Dave Calkins a major medium in the components of Perhaps between the traditions of American University Museum at the Katzen newest generations take up an ongoing by Goldman and her peer group. Having discussed several pieces from the archive. various visual forms. Through the continual printmaking and its newest iterations there Arts Center in Washington, DC with position of broadening the borders come from Saskatchewan—a Canadian Midwest Printmakers in Focus featured study and appreciation for the history is a thoughtful pause. This is where the upcoming screenings scheduled for Los of printmaking while simultaneously equivalent of the Midwest—I am intimately prints by Rudy Pozzatti, Mauricio of printmaking, the next generation spark of innovation triggers these artists’ Angeles and San Francisco in 2015. venerating the traditions of the art form. familiar with the strong work ethic that so Lasansky, and Warrington Colescott that of printmakers will transition from the unique approaches and ideologies that effectively produced such prolific artists. accompanied a talk by Nan Brewer, the creation of a single print on a wall into are cumulatively fostering the newest Indeed, meaningful introspection emerges Lucien M. Glaubinger Curator of Works the fabrication of direct and powerful language of printmaking as a distinctive from a central locality where one is in a on Paper. forms of mark making that will continue to form of visual literacy. position to look outward while also being revolutionize major installation and the arts far enough from the East and West to look The exhibit Midwest Matrix: Continuum culture at large.” considerately inward. This type of duality at the School of Fine Art’s Grunwald 5.1 Carmon Colangelo, Jose & Joyce is present in the lineage of my own art Gallery included artwork from the Pritmaking is distinctively adept to (Storms series), Intaglio, digital, practice and the forward momentum of relief printing and chine-collé on subsequent generations of Midwest compound upon its collaborative paper, 22-1/4" x 36-1/8", 2014 these principles is one of the cornerstones printmaking programs: Jennifer nature and sense of community-shared that I hope to nurture within the IU 5.2 Victoria Star Varner, Tienanmen: Anderson (Roanoke, VA), James equipment, space and the free-flow of printmaking program. Between, 2012, Photo lithographs, Bailey (Missoula, MT), Wendy Calman ideas across disciplines. “Mentorship gold leaf, pigments, charcoal and (Bloomington, IN), Jason Clark (Missoula, has played an essential part in the watercolor, 62” diameter Since the first iteration of Midwest MT), Carmon Colangelo (St. Louis, MO), continuing development of contemporary Matrix, traditional print methodologies 5.3 Picture of Templeton, Pozzatti, Tyler Ferreira (Long Beach, CA), Oscar printmaking. As the Midwest Matrix have evolved steadfast. As Goldman Bernstein and Calman in IU Print Gillespie (Peoria, IL), Susan Goldman continues to grow, the expertise of earlier Studio notes, “Young printmakers are growing (Rockville, MD), Dusty Herbig (Syracuse, generations is perpetuated, and their into an artistic environment, which now 5.4 Ellie Honl Herman, Westminster Ct.: NY), John Hitchcock (Madison, WI), Ellie continued support and encouragement encourages the use of printmaking as Appearances Can be Deceiving Honl (Bloomington, IN), Anita Jung (Iowa are evident in the work of these newer screenprint, colored pencil, 2014 5.1

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20 21 Kristina Paabus Assistant Professor of Studio Art, Reproducible Media Oberlin College, Department of Art 87 N. Main St., Oberlin, OH 44074

design nine Samantha Parker Salazar, CRASH (detail), Ostentatious Displays exhibition. monotype, x ...... cut paper, paint, drawing, flagging tape, digital. variable dimensions. 2014