1 Fall/Winter 2016, Vol. 25 - Text & Image: Mining Traditions from Hogarth to Spiegelman Cover Scan_32.tif - featuring rubbing from 3d print derived from Joseph Lupo’s, “A DRUNK.” 2016, CMYK Silkscreen, 8” x 8” 2 Morgan Price President Jonathan McFadden VICE PRESIDENT Tracy Templeton 2nd VICE PRESIDENT Breanne Trammell SECRETARY Tonja Torgerson TREASURER Edie Overturf Member at Large Nick Santinover Member at Large 3 16 Joseph Lupo John Peña + Daily Geology Multi-disciplinary artist John Peña of Pittsburgh, PA is author of Daily Geology, an autobiograpical comic featuring a pithy and brutally honest look at the absurdity and splendor of the lived experience. 24 Brendan Baylor Wendy Red Star Brendan Baylor reviews Wendy Red Star’s fascinating works from the exhibition Contemporary Native Photographers and the Edward Curtis Legacy at the Portland Art Museum. This collection of works commenting on colonial gaze utilizes repurposed historical documentation transformed through collage, drawing, audio sampling, and other techniques. 32 Abbey Kleinert Acts of Hope “It’s hard to know what to do with messages of violence and fear,” writes Kleinert in response to a contemporary climate of injustice and miscommunication. Called to action by the wisdom of the screenprinting Nun, Corita Kent, and the shooting of PhiLando CastiLe, KLeinert worked collaboratively with a fellow graphic design graduate student to create a visual response to violence that considers context, color, texture, and transparency. 38 Ashton Ludden “CCD”, copper engraving and aquatint with a la poupée, 9” x 7.75”, 2015 39 Rubén Villegas “The Original Sin”, Screenprint, 7”x9”, 2016 40 Ken Wood “Writ Large, I”, Relief, 44”x40”, 2016 41 Ashton Ludden “Reap the Benefts”, relief engraving and screenprint, 11”x14”, 2015 42 Amze Emmons Hacking the Archive Emmons’ eloquent musings on the graphic and photographic works of Glenn Ligon, Erica Baum, R.L. TiLLman, and Nate Larson & Marni ShindeLman inspire thoughtfuL consideration on the roLes of traditional printed media and digital means of communication in contemporary culture. 50 Joseph Lupo Interview with Christopher Sperandio Guest editor Joseph Lupo’s interview with Christopher Sperandio explores Sperandio’s process for creating comics like Pinko Joe, which combines his disappointment and anger “at the subversion of democracy by out-of-control capitalism” with his “love of old comics.” Sperandio emphasizes the importance of teaching effective communication, and the vital place that comics, as a medium that combines the use of images and text, plays in not only expressing ideas but in making us more receptive to the diverse world around us. 58 Ryan Standfest Chopped-Up Figures in Boxes with Shapes Coming Out of Their Mouths: Comic Strip Poetics Learning to draw through a study of comics and his daily dedication to craft, Standfest recounts the origin-story of his love for the comic in a voice so visceral, we wish to run to the nearest stack of comics and bury our face in that glorious scent of ink and old newspaper, gilded with breathtaking “miniature worlds” created through eloquent drawings and engaging narratives. 4 Morgan Price President Morgan Price received his BFA from the University of Denver and his MFA in Printmaking from Wichita State University. He is currently an assistant professor of art at Illinois State University and an Associate Director of Normal Editions Workshop. Prior to coming to Illinois State University he taught at the University of Denver, Metropolitan State University of Denver, and the Kendall College of Art and Design. Mr. Price displays work nationally and internationally and some of his recent activities include completing the Tamarind Institute of Lithography Summer Aluminum Plate Workshop, participating in the Jentel Artist Residency Program, and collaborating on a number of professional printing projects with Normal Editions Workshop. When not teaching or printing he can typically be found riding his bicycle, thrift shopping, or gloating over his extensive collection of vintage shirts. The spirit of generosity infusing the printmaking community is a constant inspiration to me. Artworks are traded, technical discoveries discussed, activities organized, and resources shared in a way that breeds friendship and camaraderie. The 2016 Conference in New Albany, IN and Louisville, KY showcased this marvelous attitude as printmakers from around the world convened for an extremely successful and collegial event. With the nation reeling from the conclusion of one of the most contentious and divisive presidential elections in recent history, attitudes of inclusiveness and magnanimity are all the more valuable. From the time E.C. Cunningham brought me to my first MAPC conference in 2002, this organization and its leadership have played significant roles in my development as an artist and educator. As I start my term as President I would like to extend special thanks to Nancy Palmeri and all the wonderful board members with whom I served over the last two years for their hard work, dedication, and generosity. I am excited to work with a new board and we will strive to continue the proud tradition of this organization. Finally, to the members, I extend my sincere appreciation for your enthusiastic involvement, commitment, and contribution to the art of printmaking. 5 Hannah March Sanders Managing Editor Hannah March Sanders is an Assistant Professor in the Department of Art and serves as the Area Head of Printmaking at Southeast Missouri State University. She is also the Letterpress Area Coordinator of Catapult Press an arts entrepreneur- ship venture, Catapult Creative House, in Cape Girardeau, MO. Hannah and her husband, Blake, operate orangebarrelindustries.com, an artist collaborative that organizes portfolio exchanges, exhibitions and other art events. She has exhibited work in group exhibitions across the globe in Estonia, Ireland, Japan, and New York. Recent solo and duo exhibition locations include University of St. Mary in Leavenworth, KS; College of the Sequoias in Visalia, CA; and the Gadsen Museum of Art in Gadsen, AL. This issue was an exciting start to our new Guest Editorship Program! Our inau- gural guest editor, Joseph Lupo, Associate Professor of Art and Graduate Studies Coordinator at West Virginia University, did a fantastic job of recruiting, curating, and editing submissions along with the rest of our team. We also welcomed Matt Hopson-Walker, Assistant Professor of Art and Foundations Coordinator at Uni- versity of South Alabama, on as a new Co-editor for the journal on a three-year term. We thank Kristine Joy-Mallari for her years of service as she takes a step back to focus on her many beautiful art projects! We began the Guest Editorship Program in our hopes to access a broader au- dience for each issue of the MAPC Journal, as well as to have a knowledgeable accomplice specific to each theme on board to curate content into an engaging collection of thoughts and images. Joe Lupo has been an amazing addition to our team for this issue. I am a huge fan of his visual work and gained even more respect for him through observation of his thoughtful process throughout the call and culling of this issue. Lastly, my gratitude goes to the outgoing MAPC Board, especially President Nan- cy Palmeri. No issue was too big or too small for Nancy to lend a hand, from visions of what MAPC is and could be to stuffing the tote bags the night before the recent conference in New Albany/Louisville began. I look forward to working with the next board and planning for what will be a fun conference in Wyoming 2018! Hope to see you all there! 6 Matthew hopson-walker co-Editor Born and raised in Fresno California, Matthew Hopson-Walker (proud owner of a very large rabbit) grew up reading comic books and dystopian science fiction novels. During a formative age he was exposed to movies such as Mad Max, To- tal Recall, Escape From New York, Blade Runner, and The Omega Man and many themes with in them show up in his work. After working as a janitor for several years he matriculated to the Kansas City Art Institute and received his BFA in Print- making in1998. After several years of playing in a heavy metal band and working at various liquor stores and bars, he then received his MA in 2002 followed by his MFA in 2003 both from the University of Iowa. In 2006 He was recipient of the James Phelan Award in Printmaking for given through the KALA Institute. Mat- thew Hopson-Walker is currently teaching printmaking and drawing at University of South Alabama. He has been included in over 100 juried and group exhibitions since 2006. I am very thankful for having been asked to co-edit the MAPC Journal. In part I agreed to do it because MAPC has always held a place dear to my heart, ever since my first conference at St. Cloud, Minnesota. I saw some amazing exhibitions, was inspired by the open portfolio, met some fantastic printmakers, and most importantly I got to hang out with many of my print heroes. The conversations that I got to be part of have stuck with me to this day. They changed who I was as a student, helped me develop as a printmaker, and informed who I am as an artist. Printmaking has such a vibrant center that the Journal both arises from and feeds back into. I couldn’t pass up the chance to get a peek at what is being thought, written, and made by my peers. The range of ideas I’ve seen in the Journal since I first joined the MAPC in 2000 has always impressed me and to finally be part of the discussion of the ever-expanding world of printmaking makes my year. 7 ANITA JUNG Co-Editor Anita Jung is one hell’a nasty woman and a professor at the University of Iowa.