“I Had A Blueprint Of History” A Case Study in Livere D’ Artiste Collaboration
Panel Chair: Sue Gosin
Panel Participants: Lesley Dill, Tom Sleigh, Paul Wong, and Peter Kruty
Thurs, 10:45-11:45 am
UW-M PSOA, ZELAZO 220
Artist, Lesley Dill, poet, Tom Sleigh, papermaker, Paul Wong, printer, Peter Kruty and publisher, Susan Gosin collaborated for 5 years to produce a limited edition book in which the “whole is greater than the sum of it’s parts.” Beginning with the search for the perfect text, the collaboration became a performance of peers as each contributor responded with distinctive ideas and skills to realize the artist’s concept. Dill worked directly with a master papermaker and printer to translate her 40 masterful images into an editioned book that retains the raw power of her original imagery as it gained in subtlety from the nuances of each process. Besides sharing their war stories and victories, panelists will share the playfulness of working as a team, the intimacy of creating, and how the excitement of the experience evolves into a deep appreciation for each other’s gifts and friendship which ultimately shows in the work itself. Susan Gosin will lead the panel as she lead the collaborators in a method similar to a “call and response,” encouraging the players to engage with each other as a way to show rather than tell how collaboration works.

Is it Something in the Water? – The Remarkable Proliferation of Wisconsin Printmakers

Presenters: Brooke Cameron, Jim Escalante, Graeme Reid, and Christine Style 

Thurs, 10:45-11:45 am
UW-M’s Golda Meir Library, Room 490
The invited presenters will celebrate Wisconsin’s printmaking by introducing the history and scope of Wisconsin based printmakers to attendees from outside Wisconsin. They will discuss commonalities, themes, and significant contributions to education and the field.

Community Support: A Roundtable Discussion
Panel Chair: Andrew Kozlowski and Taryn McMahon
Panel Participants: Kristen Necessary, Ashley Hawkins, Jennifer McTague, Katie Hargrave, and Morgan Sims 
Thurs, 1-2:25 pm
UW-M PSOA ZELAZO 220
Printmaking is often referred to as “democratic”, that its role as an artistic process offers itself to a wider audience because of the dissemination of multiple copies. It seems in recent years young artists have been expanding this idea of printmaking through the establishment of community print studios, collaborative groups, community events, and homespun project spaces that offer workshops, access to equipment, exhibition opportunities, and micro-grants, as ways to engage with their peers and their neighborhood. Print artists are imagining more sustainable, affordable, and accessible alternatives to academic or other large establishments. The Co-Chairs will briefly introduce panelists and their respective projects, but will dedicate the majority of time to guiding a roundtable discussion that invites audience participation. We will share experiences, suggestions, networks, possibilities, and assess current practices.

Student Panel

Reinventing the Visual Language of Printmaking
Panel Chair: Yoko Hattori
Panel Participants: 
Colin Klimesh and Shaun McCallum
Thurs, 1:00-2:25
UW-M’s Golda Meir Library, Room 490
This year’s student panel will focus on the process of forming and reinventing the visual language of printmaking. The panelists will discuss how they explore print media by applying diverse materials; tools and emerging technologies both inside and outside of their studio practices to further investigate the act of making and how it empowers concepts of print/making.

Viral Vectors: Prints, Resistance, Activism
Panel Chair: Lane Hall
Panel Participants: Nicolas Lampert, Dan S. Wang, and Debora Wood
Thurs, 2:35-4:00 pm
UW-M’s Golda Meir Library, Room 490
Viral Vectors should be of interest to anyone interested in the role that prints – with the expanded definition of political posters, letterpress, blogs and integrated media – have played in the Wisconsin Uprising. Wood, former senior curator at The Block Museum, will provide an overview of print and book-based interventionist strategies and artistic precedent. Lampert, a long-term member of the Just Seeds Collective, will present his collaborative political screen print posters that become ubiquitous within the landscape of Madison rallies and beyond. Wang, an artist, writer and activist living in Madison, will talk about his robust intermedia practice that fuses letterpress printing, social organization and writing, and Hall, co-founder of the Overpass Light Brigade, will tell the tale of a simple DIY hack that began a Milwaukee-based community-building movement.

International Panel

Makers in Print

Panel Chair: Christa Story
Panel Participants: Zhiyuan Cong, Raoul Deal, Mirta Kupferminc, Wilhelm van Rensburg, Andrzej Weclawski, and Sang-Mi Yoo

Thurs, 2:35-4:00 pm
UW-M PSOA, Art Lecture Hall

The International Panel explores the vitality of printmaking around the world through the work of artists from six countries. Coordinating curators from Argentina, China, Mexico, Poland, South Africa and South Korea were invited to select artists from their respective countries whose work exemplifies the foremost techniques and concepts in the medium. Through the work of these varied printmakers, from Argentina to South Korea, one can identify many similarities and differences in themes, media and aesthetics. Join us for a unique opportunity to engage with these exceptional panelists as they present a lively discourse on techniques, philosophies, attitudes and traditions in the ever-developing world of printmaking.


eppbuller_rachel_panelOccupy Art
Panel Chair: Dr. Rachel Epp Buller
Panel Participants: Stephen Goddard and Dave Loewenstein 
Friday, 10:45am-11:45am
MIAD Room 320
Building on the long history of political printmaking, the global Occupy movement, and the collaborative nature of social protests, this session showcases instances of contemporary print-based political actions. The session will include brief presentations by three arts professionals from Kansas, the first state in the nation to eliminate state funding of the arts. Dave Loewenstein will speak about his arts-based community organizing in Kansas and his participation in the Occuprint portfolio.Rachel Epp Buller will speak about the issues of censorship she encountered when curating the 2012 collaboration-based protest exhibition, Stephen Goddard will present on the recent exhibition, Prepared: Strategies for Activists. Following the presentations, we will open up the session for audience dialogue about the roles of printmaking in contemporary political debates. We invite artists to bring examples of and speak about their work, particularly those involved with Occupy movements in Wisconsin and beyond.

7-22_CandianiPanelProposal IMAGE FOUR sqVoices of Silence
Panel Chair: Alicia Candiani
Panel Participants: Ayanah Moor, Patricia Villalobos Echeverria, and Miguel Angel Rivera
Friday, 10:45am-11:45am
MIAD River Level 80
Voices of Silent: Expanded print media practices as transgressive visual and political territories will be presented as a platform of reflection regarding the “expanded” possibilities of contemporary print media and their role within “silent zones,” zones where graphics/print media has brought greater focus to marginalized issues giving voice to the silent, to subaltern politics or ecological issues. Through an expanded view of the medium this panel will evince traditional print media and its repercussions into myriad possibilities including the multiple, installation, sound, and other forms.

catanese_paul_panel

Collaborative Thinking and Making in the Post Digital Atelier

Panel Chair: Paul Catanese
Panel Participants: Denise Bookwalter, Barbara Foster, and Ribouli Digital (Andre Ribuoli / Jennifer Ribuoli) 
Post-digital

Friday, 10:45am-11:45am
MIAD Room 465E
Printmaking is an emergining mode of creative practice in which artists integrate traditional matrix creation methods with computer-based manufacturing techniques such as laser cutting, CNC routing, water-jet cutting, etc. in the pursuit of creating prints. In the Post-Digital Printmaking Atelier, expertise with ink, presses and paper are united with expertise in machining, computer-aided manufactuing, digital image processing and programming. The scope of knowledge required is dependent on partnerships among experts from many fields, which has been nurtured by the inherently community – oriented nature of printmaking. This mode of printmaking practice has steadily evolved, especially through collaborations in the context of artist residencies, university research, and commercial fine-print studios, as well as through service bureaus. Bringing together several individuals who have developed techniques within each of these contexts, this panel will closely examine a number of case studies highlighting a range of collaborative models and their creative outcomes.

berman_kim_panelInternational Exchanges at Artists Proof Studio
Panel Chair: Kim Berman
Panel Participants: Pamala Allara, Peter Scott, Rhoda Rosenberg, and Eileen Foti 
Artist
Friday, 1:00pm- 2:25pm
MIAD Room 320
Proof Studio (APS) was founded in 1991 and responded to the challenge of building democracy in a post-apartheid South Africa. It is a community art centre in Johannesburg whose mission is to train young financially and educationally disadvantaged artists to achieve self-actualization. The panel will focus on examples of dynamic exchanges with international printmakers, institutions and exhibitions. The panelists will each present a brief synopsis of the focus of their workshops, capacity building projects and exhibitions in collaboration with APS before opening the floor to a discussion of this ongoing creative exchange. 

Theories of Making
Presenters: Beauvais Lyons and Beth Grablowski 
Friday, 1:00pm-2:25pm
MIAD Room 465E
In the decades following the rise of Abstract Expressionism, artists increasingly pushed the boundaries of what could be conceived as art, and by extension what could be considered artistic labor. Movements and approaches such as Fluxus, conceptual art, process art and performance art often privileged idea over execution, or more accurately, created a different proposition as to what constitutes an art-making process than what was conventionally understood as skill acquisition. In this context many college level visual art courses abandoned traditional approaches to teaching, resulting in various forms of “de-skilling.” Emphasis was often placed on letting students “discover themselves” in the absence of a systematic overview of processes and materials, or questions of how to make art were considered secondary to theoretical or conceptual reasons for why to make art. Printmaking has generally remained committed to its historical and craft traditions, and sometimes its reputation has suffered within the hierarchies of the art world as a consequence. This session will offer some theoretical frameworks for making art, arguing for the value of a “theories of making” that does not eschew craft, but positions it as a vital component of a creative practice.

Printmaking In Today’s China
Panel Chair: Zhiyuan Cong
Panel Participants: Jun Guang, Daquan Dai, Qi Chen, Long Chen, Dongxia Li, Guirong Lou, Yue Yang, and Yuanfan Zhang 
Friday, 2:45-4:00 pm
MIAD Room 320
America is the leader of international printmaking and the center of modern art, while China is the birthplace of printmaking and a country with a long-standing artistic tradition. One could say that there would not have been any development in American printmaking without the invention of papermaking, printing, bookmaking and multi-color printing in China. So, what is happening in the printmaking field in China today? Leaders of the China National Printmaking Association, Professors from China’s foremost art institute for training in printmaking, and contempoaray artists from China will present themselves, their institutes, and their regions’ prints. Sharing their educational experiences and promoting the exchange between Eastern and Western Printmaking eras.

Chasing Dreams: Printing Teaching and Collaboration in Havana And Hanoi
Presenter: Steven C. Daiber 
Thurs, 1:00-1:30
UW-M PSOA, Art Lecture Hall
Scenarios play themselves out in a thousand different ways in Cuba and Vietnam, teaching me that there are vast differences in culture, ethos of work ethic, artistic vision and negotiation and time management. Living where innovation is a means of survival, the art of conversation is enjoyed as a natural rhythm to the day, transportation is rough at best, and crisis is a daily occurrence; time has very little to do with the clock. With all my collaborations there are two goals. First to create a shared story and second to place these books into collections and distribute the profits back to the individuals who helped make them. In this presentations I will discuss colloborative book proects and printmaking experiences in Havana and Hanoi.

mowinski_melanie_panelFrom Pop-up to Permanent
Presenter: Melanie Mowinski 
Thurs, 1:45-2:15 pm
UW-M PSOA, Art Lecture Hall
This paper will explore how to transform a project from pop-up to permanent? What are the ways PRESS:LetterPRESS as a Public Art Project can raise awareness and appreciation of print media? How does the public performance of printing inspire, speak to and transform the way the public experiences print media. PRESS houses the only Vandercook Letterpress open to the public in a gallery setting outside of museums in the state of Massachusetts. Having such a unique resources affords PRESS the opportunity to continue offering community workshops, poetry readings, exhibitions and open studio opportunities to area and visiting artists—in addition to general observation of the printing process. Some of these events are programmed, designed and implemented by students. Students attend and participate as well. Specific examples of student and community projects that raise awareness and appreciation will be outlined further in the paper.

Nancy Spero, Anti-Painter
Presenter: Andrea Ferber
Friday, 1:00pm-2:25pm
MIAD River Level 80
American artist Nancy Spero abandoned oil painting on canvas in 1964 and traditional approaches to painting altogether in 1970. Spero’s chosen materials were deliberately fragile, transient, and undervalued: she worked on paper and her installations were usually temporary. The relationship between the materiality of her works and her feminist political convictions is inseparable. This presentation describes how this artist’s unique use of printmaking extended the conceptual import of her subjects.

brunvard_erik_panelAutomated Drawing: Blurring the Line between Print and Drawing
Presenter: Erik Brunvand 
Friday, 1:00pm-2:25pm
MIAD River Level 80
Automanted drawing machines are mechanical mechanisms that make drawings, typically drawing directly on the substrate using pens, pencils, charcoa,l or other traditional implements. Drawing and printmaking are close cousins in the world of works on paper. One main distinguishing feature is the possibility of making editions of prints. But what about drawings made through automated means? These are drawings in that they are images applied directly to the paper, but they are also editionable because they can be replicated. In this paper I will survey a history of drawing machines and talk about how modern printmakers have adapted drawing machines to many uses. Recently a number of artists are starting to use these machines to make editioned drawings. I will show examples of contemporary work in this direction, including my own.

anderson_noel_panelPrintmaking in a ‘Post Radical’ Condition
Presenter: Noel W. Anderson 
Friday, 1:00pm-2:25pm 
MIAD River Level 80
This presentation seeks to describe the personal use of traditional and contemporary printmaking in expressing a contemporary African American communal perspective. In a “post-everything” world, how does one make specified distinctions? What is black, a print, everything and nothing? My research attempts to define a series of terms. First it attempts to define tapestries in the digital age as prints, through editions and reabsorption into printmaking through the use of traditional processes. My scholarship also attmepts to utilize a historically exclusionary practice as a strategy to include the very voices that were once ousted.