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2010 Printmaking Survey Results

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“New and Old Generations: Teaching Printmaking” Artists working with print media are asked to complete this short survey. The survey was distributed through MAPC and SGCI list-servers and covered creative and technical information, professional practice, theory/history and biographical information. The results were presented as part the 2010 Mid-America Print Council session “New and Old Generations: Teaching Printmaking” co-chaired by Jack Damer from the University of Wisconsin-Madison and Beauvais Lyons from the University of Tennessee, Knoxville. An article with analysis of the survey results will appear in the Spring 2011 issue of the MAPC Journal. BIOGRAPHICAL INFORMATION Completed Surveys: 429 Age Range: 18-86 Age (click one): 18-29 23% (23 individuals 22 years or younger) 30-39 23% 40-49 17% 50-59 20% 60-86 17% Gender: female 235 55% 42 male 194 45% 44 Highest Degree: high school 14 3.3% bachelors 96 22.4% MA 19 4.4% MFA 294 68.7% PhD 5 1.2% CREATIVE AND TECHNICAL INFORMATION Print media you work with (click all that apply) intaglio 357 83.2% relief 332 77.6% lithography 243 56.6% screenprint 240 55.9% monoprint 235 54.8% monotype 232 54.1% digital 215 50.1% letterpress 125 29.1% other 71 16.6% other responses include: book arts, collograph, collotype, installation work, hand stenciling, paper making, photo-mechanical, pronto plate, solar plate, etc. with book arts and intaglio aligned processed most frequently listed. Average Age Using Specific Print media yes no intaglio 43 43 relief 43 43 lithography 41 45 screenprint 39 48 monoprint 43 43 monotype 44 41 digital 43 43 letterpress 40 44 I often combine print media (click one) yes 316 73.7% 43 no 113 26.3% 44 Most of my prints tend to be (click one) 15 x 20 inches and smaller 177 41.3% 43 larger than 15 x 20 inches 252 58.7% 43 Most of my work in print media tends to be (click one) editioned 259 60.4% 44 unique impressions/monoprints 170 39.6% 42 When beginning a project I tend to start with (click one) drawing/sketching 258 60.1% 43 collage 22 5.1% 42 photography 64 14.9% 44 computer 47 11% 43 other 38 8.9% 46 other responses: all of the above, word association, reading, writing, research, varies based on project, monotype, work directly without planning, scanning, I tend to regard traditions in printmaking as (click one) a creative obstacle 44 10.3% 36 a creative opportunity 385 89.7% 44 I tend to regard the technical demands in printmaking as (click one) a creative obstacle 65 15.2% 36 a creative opportunity 364 84.8% 44 Printmaking Represents (click one) Most of my creative work 270 63% 44 some of creative work 140 32.6% 42 a minor part of my creative work 19 4.4% From your perspective as a current or former student, do/did you plan to continue working with print media following graduation? (check one) yes 414 96.5% 43 no 15 3.5% 58 If you are not currently making prints, did your studies in printmaking have value to your current art practice. (check one) Yes 117 27.3% No 1 .2% Not Applicable 311 72.5% Note: a more accurate answer to this question might be achieved with qualitative assessment through first-person interviews. Is long-term safety/chemical exposure a concern for you when you work in printmaking? (check one) a major concern 151 35.2% 44 a concern 146 34% 44 a modest concern 105 24.5% 40 no concern 27 6.3% 41 Are sustainability issues a concern for you when you work in printmaking? (check one) a major concern 94 21.9% 40 a concern 193 43% 42 a modest concern 107 24.9% 39 no concern 35 8.2% 38 Is using archival materials and methods a concern for you when you work in printmaking? (check one) a major concern 175 40.8% 45 a concern 153 35.7% 40 a modest concern 80 18.6% 34 no concern 21 4.9% 29 PROFESSIONAL PRACTICE In the past three years I have printed for someone else (click one) yes 207 48.3% 38 no 222 51.7% 47 From 2007-2010 I participated in the following number of exchange portfolios (click one) none 63 14.7% 47 one 61 14.2% 44 two-four 202 47.1% 42 five or more 103 24% 42 I have a web site (click one) yes 273 63.6% 42 no 156 36.4% 45 I have a gallery that represents my work (click one) yes 135 31.5% 50 no 294 68.5% 40 I participate in the following social media (click all that apply) Facebook 313 73% Yes: 40 No: 52 Inkteraction 215 50.1% Yes: 41 No: 45 MySpace 23 5.4% Yes: 31 No: 44 Other 135 31.5% Other: Blogspot, Flickr, LinkedIn, Printeresting, Skype, Twitter, Wordpress Blog, Yahoo Groups, You-Tube. THEORY AND HISTORY Identify 2 writers about printmaking that inform your practice (if any) Walter Benjamin (18), Beth Grabowski (17), Kathan Brown (16), Susan Tallman (13), Richard Noyce (13), Paul Coldwell (10), Carol Wax (10), Keith Howard (9), Ruth Weisberg (8), Kathryn Reeves (6), Stanley William Hayter (5), Garo Antreasian and Clinton Adams (4), Dan Welden (4), William Ivins (3). Note: 158 people (37%) had no response to this question. Identify 2 writers outside of printmaking that inform your practice (if any) Dave Hickey (15), Roland Barthes (6), Rosalind Krauss (5), John Berger (5), Stephen Heller (4), Donald Kuspit (3) Note: 151 people (35%) had no response to this question. Identify 2 printmakers (contemporary or historical) who inform your practice (if any) Francisco Goya (31), Albrecht Durer (28), Karen Kunc (19), Rembrandt van Rijn (18), Robert Rauschenberg (18), Kiki Smith (17), Michael Mazur (13), Käthe Kollwitz (13), Judy Pfaff (12), Warrington Colescott (10) William Kentridge (9), Enrique Chagoya (7), Sue Coe (7), Jack Damer (6), Mauricio Lasansky (6), Jasper Johns (5), Peter Milton (5), Pablo Picasso (5), Ed Ruscha (4), Chuck Close (4) James McNeil Whistler (4), Phyllis McGibbon (4), Giovanni Baptista Piranesi (4), Swoon (4), John James Audubon (3) Note: 57 people (13%) had no response to this question. Among those who responded, 126 (34%) had at least one historical choice among their answers of which 19 (5%) had historical artists for both selections. Some interesting pairings include: Ralph Steadman - Albrecht Dürer, Sue Coe – Albrecht Dürer, José Posada – Peter Milton, Jack Damer – M.C. Escher, Pablo Picasso – John James Audubon, Francisco Goya – Enrique Chagoya (3) Identify 2 artists who are not printmakers (contemporary or historical) who inform your practice (if any) Responses to the question were highly varied and included Leonardo DaVinci, Tintoretto, Peter Paul Rubens, Oskar Kokoshka, Marcel Duchamp, George Bellows, Frida Kahlo, Ben Shahn, Helen Frankenthaler, Georgio Morandi, Norman Rockwell, Andy Warhol, Louise Bourgois, Eva Hesse, Anselm Kiefer, Yoko Ono, Pat Stier, Leon Golub, Henry Darger, Gerhardt Richter, Odd Nerdrum, Walton Ford, Bill Viola, Kara Walker, Matthew Barney, Oscar Munoz, the Guerilla Girls, Chris Ware, Dr. Seuss, and Banksy. Note: 74 people (17%) had no response to this question. Some interesting pairings include: William Kentridge – Tintoretto, Bill Viola – Magdelena Abakanowicz, Marcel Duchamp – Jan Van Eyck, Andrew Wyeth – Mary Frank, Martin Puryear – Charles Schultz, Claude Monet – Anselm Kieffer, Carravaggio – John Currin, Carravaggio – Mark Rothko, Reverend Howard Finster – Mike Kelley, Egon Schiele – Sally Mann, Yoko Ono – Leonardo DaVinci !"#$%"& !"#$%"' ()$!"#$%"& ()$!"#$%' *"#+$%"& *"#+$%"' ,"-.$& ,"-.$' ,/% 0%+1%" 2%/"%% 3 4#567"1389:5% *%$%"38%.;%<3=,"$39+3*7>%"3%1#$9"?@7AB753=C"%+563+9D%A#.$E3FG9.$3HAA).#9+.F?G%D3I7+9D#56 4%J;"7+1$3=J9"%3$67+3#+K9"J%1L3#+.>#"%1?M134).567 N7+3OD7+PJ7Q9"3=.>R3SB%5637+#J7$9"?8#59A%3M#.%+J7+ C%J7A% IC, +9+% +9+% 6%5P%A "9)7A$ TU I7A% @756%A9". N)A%.3V%AA%" 4)$63G%7K 09:7 W7+309/6 C"7.59+# @7.P#+ W7+309/6 4%J;"7+$ TX I7A% IC, N%59;3O%JP9 8#P3O%J%+9Y ,++73N96+.9+ ,AK9+.3@:$7)$7. 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  • Double Vision: Woman As Image and Imagemaker

    Double Vision: Woman As Image and Imagemaker

    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
  • Winsor Mccay

    Winsor Mccay

    Winsor McCay The Ohio State University Cartoon Research Library Union List This union list of work by Winsor McCay and related materials available at The Ohio State University Cartoon Research Library is published to provide researchers and collectors a single source of information compiled from several unpublished finding aids. Finding numbers are listed for the convenience of researchers. None of the books or serials relating to Winsor McCay that are available in the library are included in this list because information about these works is available on OSCAR, Ohio State University Libraries’ on-line catalog. McCay materials in the San Francisco Academy of Comic Art Collections (SFACA) gathered by Bill Blackbeard, Director, are not included because they are unprocessed at the present time. When the SFACA materials become available, a virtually complete archive of the published works of Winsor McCay will be accessible here. For further information, please contact the library. We are grateful to many persons for their role in making the rich resources described in this union list available to the public at the Cartoon Research Library: To collectors Bob Bindig, Henriette Adam Brotherton, John Canemaker, Leo and Marie Egli, Richard Gelman, Woody Gelman, Charles Kuhn, and Philip Sills for sharing their treasures. To Director of Libraries, William J. Studer, for making the initial acquisition of Gelman materials possible. To Pamela Hill for her assistance. To Erin Shipley for her patient work on this publication. Winsor McCay The Ohio State University Cartoon Research Library Union List Unless otherwise noted, all Winsor McCay materials form part of the Woody Gelman Collection.