Panels

Asian Art: Blocks, Prints and Rubbings
The panel will bring to light the performative natures of woodblocks, woodblock prints, and rubbings. The panel would be particularly interested in the atelier workshops involved in Japanese print productions as well as the Chinese tradition of making ink rubbings of 3-D works, such as steles, bronze vessels and coins, and other works. The panel endeavors to initiate dialogues on the histories behind the creation of woodblocks and ink rubbings. In addition, the original contexts of these works can be explored as well as our contemporary usages in Asian art history and exhibitions. Possible topics could include carving techniques, wood selections, paper selections, inks, as well as the performative energies.
Panel Chair: Jason Steuber
Panelists: Britta Erickson, David Cateforis, Wei-Cheng Lin, Ling-en Lu, Halle O’Neal

Community Conversation: Non-Profit and Open-Access Printmaking Studios
The overall goal of this event is to foster communication between non-profit and open-access print studios. We hope to share information about the points required to keep us running, the ploys we use to infiltrate the traditional artistic community, and to form plots to cooperate together in the future.
As non-profit and open access print studios we are often so focused on our own activities that we don’t reach out to communicate with other similar organizations and learn from each other. This is an opportunity to get together for a group discussion about operating details, fundraising, policies, membership, classes, community involvement, and other subjects of interest to all our studios. This event is not a sit-and-listen panel, it is a come-and-participate discussion hosted by Saltgrass Printmakers from Salt Lake City.
Come join the conversation and help contribute to a knowledge base about these sorts of studios.
Erik Brunvand, Saltgrass Printmakers

The Concept of Further from the book Printmaking at the Edge
Richard Noyce's book, Printmaking at the Edge, collects the images and ideas behind 45 artists from 16 countries. As the book became available in April, 2006, Scott Betz, Panel Moderator, began contacting the artists about a possible shared project that would help establish a greater sense of community between them. One of the most practical solutions, given the distance between participants would be to produce an edition for a print exchange portfolio, but how can a boxed set of prints qualify as “at the Edge”? Instead, “Further” became the portfolio theme and title and the real challenge sent to the participants was to take their work further towards the “edge(s)” as Noyce writes in his book. These six international participants will address the larger concepts of “the edge” and how it relates to the future of printmaking.
Panel Chair: Scott Betz
Panelists: Rebecca Beardmore, Redas Dirzys, Chang-Soo Kim, Richard Noyce, Michael Schneider, Daryl Vocat, Barbara Zeigler

Crankarm Economics: The Financial Aspects of Printmaking
Defined as the science of the production, distribution, and consumption of commodities, economics exerts a profound influence upon all print media. With financial considerations weighing heavily upon methodologies and ideologies of print culture, the panel Crankarm Economics: The Financial Aspects of Printmaking addresses economic conditions determining global practices of print. Topics include the changing pedagogies, strategies, and administration of freedoms and constraints within the field, the re-materialization of technical processes, the publishing and dealership of the printed image, and emergent strategies for the re-positioning of print amidst the changing complexion of the contemporary art world.
Panel Chair: Charlie Cohan
Panelists: Paul Mullowney, Eleanor Erskine, Brian Reeves, Fred Hagstrom, Russell Ferguson

The Drawing Panel: I'd Rather Be Drawing
This panel will address contemporary issues in drawing. Drawing as a primary means of expression has been celebrated and critically acclaimed in many of the great cities of the world and in many important art institutions. In the early origins of the Southern Graphics Council (SGC) there was a drawing component to the conference. This has long since been dropped from conference activities. However, drawing is still a major concern for print artists and is increasingly more important. The rise of computer-aided printmaking has also created a backlash to high-end technology and sent many artists literally back to the drawing board. Drawing is often the first step in making a print and a vital skill for articulating print media as a means of personal expression. A growing number of print artists have reinvented approaches to drawing as a final and finite art form. Michael Krueger has curated an exhibition of drawings by artists with a background in printmaking. The exhibition titled, “I’d Rather Be Drawing”, explores the crucial involvement of print artists in reshaping the field of contemporary drawing. This panel is intended to augment the exhibition and to generate fresh dialogue regarding issues in contemporary drawing. Panelists will address a variety of issues from narrative in contemporary drawing, tracing or appropriation in drawing, the importance of the artists sketchbook and doodles, as well as repositioning drawing as a primary means of expression for contemporary artists.
Panel Chair: Michael Krueger
Panelists: Randy Bolton, John Brown, Phyllis McGibbon, John Schulz

Exploitation and Entrepreneurism in Contemporary Collaboration: A Paper-Case Study
Collaboration in the visual arts in the late 20th and early 21st centuries has altered our concept of an artist from a lone genius to that of an entrepreneur conversant with sophisticated teamwork. Contemporary artists embrace cross-fertilization that occurs in communal studios with peers from related disciplines. It is as commonplace today as it was in past centuries for successful artists to hire and train studio assistants to help with mundane as well as complicated tasks. What is relatively new in collaboration in the visual arts is a model of interaction commonly found in the performing arts where partners with distinct skills contribute in varying degrees in both originality and execution to the final work of art. Today artists count on collaborators to help them reinterpret and transform their vision into forms which enhance and develop their imagery to it’s fullest potential. But where is the fine line that distinguishes contribution and credit in these issues of intellectual property. The panelists, whose combined experience covers more than half a century of professional print and paper collaboration will shed light on these cloaked issues.
Panel Chair: Sue Gosin
Panelists: Anne Q McKeown, Ruth Lingen

Intercultural Ploys: Plotting Diversity and Difference
At the start of the 21st century, globalization brought together diverse religious, political, cultural, and, of course, artistic concepts that are highly interrelated such as diversity, inequality and difference. Taking into account difference, attempting to correct inequality and connecting social minorities has fuelled a search for new theoretical paradigms. The “multicultural” idea, which implies a certain acceptance of heterogeneity, becomes second to that of the “intercultural”: which implies that “others” are what they are by negotiation and reciprocal cultural loans. Printmaking and new media projects seem to be a way to “relate” and “negotiate” these diversities since the inter-cultural paradigm has been developed in the realm of printmaking long ago through the international print exhibition and portfolio exchanges. Within this context, this panel will bring together international artists and curators involved in intercultural print projects that promote artistic strategies that overcome geographical distances and cultural difference.
Panel Chair: Alicia Candani
Panelists: John Hitchcock, Walter Jule, Eve Kask, Ute Ritschel, Breda Skrjaneck

International Artists Residency Programs
The Southern Graphics Council is welcoming an increasing number of international members and is seeing an increase in participation by its American members in residencies abroad.  As a result, a rich network of resources and repository of information is beginning to exist for our printmaker community. This cultural diplomacy is the focus of this panel discussion, which draws upon the perspectives of artist, administrator, host, and funder.  The dialogue will concentrate on practical information and advice about international residency programs, e.g. the expectations, challenges, and inherent opportunities. Panelists will discuss their experiences with specific programs such as the Kala Art Institute in Berkley, California, the Frans Masereel Centre in Belgium, and the Fullbright Program. Additionally, information will be provided about how to build and fund an exchange or hosting program in your community.
Panel Chair: Nicole S. Pietrantoni
Panelists: Deborah Cornell, Ivan Durt, Archana Horsting, Beauvais Lyons

International Concerns in Printmaking: Four Perspectives
Panelists: Deborah Cornell, Carinna Parraman, Brooke Cameron, Richard Noyce

Making an Impact
How Design & Printmaking Combine to Create Compelling Communications
Design gives printmaking communicative properties. Printmaking brings the aesthetic of human touch to design. Tied together by their power to reach out to the masses, design and printmaking have always been the extroverted siblings of the art world. This AIGA KC sponsored panel will feature three graphic designers, known for their compelling poster designs and whose style is often informed by the printing process. It will discuss how the conceptual influence of design and the technical use of printmaking can be married to create simple, thoughtful and compelling communications.
Panel Chairs: Panel Moderators: Christine Taylor & Ryan Jones
Panelists: Luba Lukova, Jason Munn, Brady Vest
Sponsored by Kansas City AIGA Chapter

Midwest Matrix
Grounding the American Fine Print Movement of the Post-War Period to Present
Midwest Matrix is the production by Printmaker Susan Goldman and Video Artist Andrea Hull, of an hour-long video/DVD program to record the legacy that has changed the history of printmaking and the visual arts. The documentary will capture the fine art printmaking tradition of the American Midwest through interviews with internationally renowned Midwestern artist/teachers and their students. Five to six minutes of this video will be presented. Panel discussion will follow.
In the years following World War II, expatriate artists Mauricio Lasansky and Stanley William Hayter in particular inspired in young American artists, many of whom were first-generation Americans of European descent, an expanded conception of the fine art print and the processes of its making. What took these artists to the Midwest? What were their strategies for achieving what they did? What is the “Midwest tradition” of printmaking? Midwest Matrix will articulate, for the first time through personal interviews, this story—a history of fine art printmaking in the American Midwest.
Invited panelists will address the question of how printmaking developed and evolved throughout generations affected by public policy, education, immigration, technology and artistic movements. Can we connect the dots of this story, grounding the American Fine Print Movement of the Post-War Period to the present? Do we see evidence from the past, in offshoots of experiments in graphic imagery, arts education and publishing in digital work today?
Panel Chair: Susan J. Goldman
Panelists: Gilberto Cardenas, Sid Chafetz, Lloyd Menard, Joann Moser, Rudy Pozzatti, Roxanne Sexauer

Parallel Worlds: Designer as Printmaker, Printmaker as Designer
This panel will explore how the roles of printmaker and graphic designer converge, intertwine, and deviate from one another. Topics for discussion will include: how the fine artist masquerades as a designer, how the designer masquerades as printmaker, how the points or elements of design work for both, and how each plots to disseminate creative ideas.
Parallel Worlds: Designer as Printmaker, Printmaker as Designer will explore the parallel roles of Printmaker and Designer. How will the worlds of graphic design and fine art printmaking converge? This panel will explore the roles of the computer, the undergraduate classroom, and the cross-over professional artist. Today, the computer bridges the gap between printmaker and designer through typography, photography, and layout. The effects of the computer can be seen in the undergraduate classroom through the interaction of design and print students. This interaction parallels the professional artist and designer's use of printmaking techniques in intent and product.
Panel Co-Chairs: Shelley Gipson, Neil Matthiessen
Panelists: Cecilia Bakker, Tim Brown, Andrew Maniotes, Kelly Porter

Pocahontas Meets Hello Kitty
A panel discussion on the recent portfolio focused on using the images and history of Pocahontas and Hello Kitty, the Japanese icon, as a Ploy to engage the public into being receptive to a new way of looking at Native American Women in History, the Plot was to educate the public and young women about Native American women through out history along with touching on contemporary issues facing many Native American communities today. Hello Kitty and the image of Pocahontas are being used as a tool to help engage young women/people into to being receptive to the images and educational material that will be a part of the portfolio. The portfolio is to travel the prints to various reservations and communities through out the United States and abroad. Part of the panel discussion will be on the effects of the works on these communities and a selection of artists who are a part of the portfolio have been asked to present on their part in this wonderful project.
Panel Chair: Melanie Yazzie
Panelists: Arthur Douglass, Candy Nartonis, John Hitchcock, Tom Jones

Post-Printmaking in a Post, Post, Post World
“Post-Printmaking in a Post, Post, Post World” will deal with the idea of constructed themes (post-printmaking in a Post-Feminist, Post-Black, Post-Queer era) and how this construct relates to the idea of charting and categorizing. Our art world continues to find a need to plot art/artists on an imaginary hierarchical chart, keeping artists/work within narrow categories. This panel is interested in discussing (and defining) these constructs. The panel will also address how these constructs effect academia, in particular, how we educate young artists/printmakers.
Panel Co-Chairs: Traci Molloy
Panelists: Ayanah Moor, Emily Puthoff, Helena Reckitt

Printmaking Plots and Ploys: Entertainment and the Printing Industry
Investigating references in historical and contemporary culture this project will address printmaking in relation to the field of entertainment. The panelists will identify and evaluate printmaking as a plot, backdrop or element of cinema, television, music and other forms of entertainment. Printmaking in the fine arts has always borrowed from commercial avenues, whether it the Victorian photo process of photogravure or the adapted use of polyester, pronto plates; how has printmaking helped shape culture outside of the fine arts to reach new audiences? Panelists will reference historical printmaking techniques, democratic proliferation of information and entertainment, printmaking and cinema as well as a look at possible futures of printmaking.
Panel Chair: Richard Gere
Panelists: Beauvais Lyons, Kevin Bradley, Jeff Sippel

Social Agency of Printmaking in Public Spaces
This panel seeks to explore the relationship of the democratic multiple to the social agency it seeks to attain. The intention of the panel is to look at printmaking in public spaces from several different perspectives that include collaborative, political activism, community engagement, and distribution methods. The agency and voice of printmaking has undergone several significant changes in its long history and this panel will explore the contemporary printmaker and their relationship to the public arena.
The panel seeks to address questions such as: How is the role of printmaking changing in relationship to its democracy? How is the voice of the collective distributed to the public?
How does printmaking have a direct affect on the community? What are the successful strategies artists are using to create a public forum for printmaking?
Panel Chair: Mary Hood
Panelists: Catherine Chauvin, Adriane Herman, Pamela Jennings, Lydia Nakashima Degarrod

Spirituality in Art
In a time of artistic plurality how is artwork that deals with “spiritual” matters received? Who is making artwork that is “spiritual” in nature? In order to discuss these questions and others a definition of “spirituality” needs to be put forth. Donald Kuspit’s “Reconsidering the Spiritual in Art” puts forward a definition and Mr. Kuspit’s argument for how rampant materialism, excessive theory, and an over-reliance on science has almost snuffed out the spiritual in art today.
Panelists will discuss their reaction to "Reconsidering the Spiritual in Art," considering questions of the contemporary definition of spirituality, skepticism versus sincerity, modernism versus postmodernism, and the compatibility of organized religion and contemporary art.
Panel Chair: Shawn Bitters
Panelists: Stephen Goddard, Nancy Haselbacher, Yoonmi Nam, Steven A. Orlando

Student Panel: Who are we?  What does our art portray?
How do we chose to identify ourselves when we produce art?  What is the purpose of having pseudonyms or alternate identities? Printmaking is often about multiples, communication and collaboration.  From studio spaces to ideas, printmaking is not at all contained to the individual solitary creation.  As artists, we are part of something bigger than ourselves by contributing to the way things are communicated to the masses.  There is a compulsion to discover the ties that bind us as humans; relationships created through art that may unite individuals.  Assuming an identity as an artist, under the guise of a collaborative or simply as a “pen name” is so seductive.  The idea that it is possible to function as someone completely different for a moment, is quite alluring.  Who would you be?  What would you try to communicate?  This panel is designed to address these questions and more through analyzing contemporary art.
Panel Chair: Estrella Esquilin
Panelists: Rachael Huffman, Andrew Kozlowski, Megan Mantia

Traditional Points, Digital Plots and Teaching Ploys
A panel dealing with the intersection of traditional printmaking and digital technology.
Contemporary printmaking is becoming an amalgamation of traditional processes and digital imaging and manipulation. The intersection of these technologies can be as rich as it is wide, but it also presents dilemmas about imagery, surface and concept. Traditional points are being challenged by plots of instant gratification vs. time-developed imagery, appropriation vs. invention and process vs. product issues. What ploys, if any, do we use as professors of art teaching printmaking, faced with students more digitally imprinted than ever before, to help them navigate the terrain between these two arenas or should we even try?
Co-Chairs: Garry Kaulitz, Johntimothy Pizzuto
Panelists: Elizabeth Dove, Joel Seah, json

What is the Point of Teaching Printmaking in a Community Setting?
Sometimes I jest about the plot of World domination of printmaking. That goal has been achieved by the proliferation of the print. The ploy of teaching printmaking in the community, as a way of introducing process to young people and adults. We will discuss what is the Point!
The panel will present slides or videos of activities that take place in their shops accompanied by a narrative. Each presenter would take approximately 20 minutes for each amount of time and share the histories of their shops, why they do what they do. How they came to embrace the vision of community shops, public programming and managing a professional practice with in the printshop milieu.
After the initial presentation we will open the panel up for questions and answers- the goal being to inspire others to take up the challenge of creating organizations within their communities that provide spaces for teaching, sharing and creating works.
Panel Chair: David Jones
Panelists: Cole Rogers, Gabriel Tenorio, Hugh Merrill, Nancy Palmeri, Phil Sanders