The Open Portfolio Session is an opportunity for artists to present their work to a broad audience. This popular event allows many people to display their work and an even broader audience to view the presented work. This will be an excellent opportunity to showcase your creations, enabling discussion and discourse. Cost to participate is $10.
SGC International Membership Exchange
We are pleased to once more offer a conference favorite, the SGC International Membership Exchange Portfolio. Here, members are able to come away with a great sampling of art to commemorate this year’s conference. Our guest judge this year is Amy Mackie, Visual Arts Curator of the Contemporary Arts Center, New Orleans.
Membership Exchange Specifications:
Editions should consist of eleven impressions numbered 1/11 to 11/11, using any archival material. Ten of the prints will be redistributed to other participants in a random selection process. The remaining print from each edition will be retained as a complete set for the SGC International Archives.
Theme: Navigating Currents (http://conference.sgcinternational.org/welcome/overview)
Paper size: 11” X 14” – prints can be full bleed
Edition size: 11; numbered 1/11 to 11/11 (no proofs or editions larger than 11)
Entry fee: $10
Media: All forms of printmaking are accepted, including photography and purely digital processes.
Labeling: In pencil, clearly print artist’s name, title, and media on the back of each print.
Interleafing: Optional (cut 11” X 14”), must be archival material. Please do not use newsprint, bags, tracing paper, wax paper, or Mylar as interleafing.
Prints must be the original artwork of the submitting artists, and must be dry at the time of submission.
The portfolio organizers reserve the right to refuse entry of any submission that fails to conform to the portfolio guidelines.
For a list of submission times and location, please see http://conference.sgcinternational.org/schedule.
Themed Portfolios were juried into the conference by a group of print professionals from the New Orleans site committee.
“A Quantum Print”
Organizer: Patrick Vincent
Organizer: Shaurya Kumar
Artists: Zhang Chunxia ,Katy Couprie, Martin Due, Ellen Edminson, Yang Feng, Mark Harris, Tao Jiaxiang, Michael Kempson, Vassil Nikolov Kolev, Shaurya Kumar, Zhang Lin, Kathy McGhee, Jo Stockham, Timothy Vyner, Dai Xinjun, Liu Yichun, Qianzhi Zeng, Zhou Zhongmin, Liao Zongrong
Print has always been considered a maker of culture; a medium whose primary aim has been to disseminate information. The Internet, however, has been responsible in part for releasing the print from this function and has set it free for creative and aesthetic exploration. In its function, what print had hoped to do, the Internet does in a much better and more efficient manner. Unlike print, the information can be distributed fast and in any form, whether it is text, image, or sound. This new technology has affected the world in more ways than one had imagined. One rather significant effect has been Globalization. Though initially used for economy, the term has a more diverse use in contemporary society. Described as, “a process of transformation of a phenomena or an idea to become global or universal,” it has resulted in the unification of the world into a single society. While it has helped us experience distant and foreign cultures, it has also blurred the boundaries of what is local and what is global. Amidst this influence of new media and culture, printmaking has been a strong survivor, absorbing and borrowing from these new transient currents. This portfolio is an international project that will bring together 19 artists from seven different countries with diverse cultural, geographical, conceptual and technical backgrounds. The portfolio thus comprehensively addresses some of the most contemporary issues in printmaking and provides a wonderful overview of how traditions of printmaking have navigated across the globe and likewise have been absorbed in local culture and flavor, successfully being adopted for personal statements.
“Hell Or High Water”
Organizer: David DuBose
Artists: Kimberly Arp, Ryan Burkhart, Tom Christison, David DuBose, Ke Francis, John Hancock, Adriane Herman, Yuji Hiratsuka, John Hitchcock, Ross Jahnke, Brian Kelly, Lynwood Kreneck, Michelle Martin, David Menard, Terry Morrow, Mary Jane Parker, Endi Poskovic, Sylvia Taylor, Katherine Liontas Warren, Sean Star Wars, Art Werger, Sang-Mi Yoo
The phrase, hell or high water, is often used to express an overwhelming difficulty or adversity, though always with great determination that the difficulty will be overcome. With so many water-related disasters in the news over the past few years, it is understandable that the words hell and water are used together in this way. New Orleans is still reeling from the devastating flood following Hurricane Katrina in 2005; one recalls the destructive tsunamis in Indonesia in 2006 and Japan in 2011; and the worst oil spill in history is still affecting lives and habitats throughout the Gulf of Mexico. But hardship and adversity can also be a catalyst for renewal and growth, and those affected by such disasters often show remarkable resilience. Using traditional and digital methods to achieve their image, participating artists were asked to respond to the impact of water-related disasters.
“In the Background”
Organizer: Yoonmi Nam
Artists: Kristi Arnold, Katie Baldwin, Laura Berman, Teresa Cole, Christa Dalien, Kristina Estell, Adriane Herman, Mary Anne Jordan, Mari LaCure, Yoonmi Nam, Serena Perrone, Nicolette Ross
In The Background exchange portfolio will be a tribute to our decorative and commercial printmaking history. The styles, patterns and the subject matters depicted in each print reveal how we locate ourselves geographically, socially, culturally, and historically: where we live, where we came from, and where we want to go. Often in the background, the use of wallpaper throughout history has been of an ephemeral nature. Whether it was used to transport ourselves to a picturesque French landscape in our own living rooms or to cover and conceal what lies underneath, wallpaper has the ability to create a mood and atmosphere. As styles changed over time, so did the coverings on our walls.
Artists have made their own wallpaper designs based on their diverse interests and backgrounds while addressing the culture of this man-made environment and the potential transformation of an interior space. Using both conventional and unconventional subject matters, each print is a sample wallpaper section with the potential to expand to become a continuous pattern. The completed portfolio resembles a high-end wallpaper sample book providing a sense of potential to be used as wallpapers, and at the same time, each print is able to stand alone as an image.
Organizers: Elizabeth Klimek and Tracy Pilzer
Date: Saturday, March 17
Location: Grand Chenier Room
Participants: Lynne Allen, Georgia Deal, Matt Egan, Susan Harrison, Elizabeth Klimek, Shaurya Kumar, Heathe Muise, Manuel Navarrete, Paulette Palacios, Tracy Pilzer, Kathryn Polk, Tiger Reed, Gretchen Schermerhorn, Sean Star Wars, Jason Terry, Sergei Tsvetkov, and Melanie Yazzie.
“Today we are engaged in a deadly struggle for those who would intimidate, torture, and murder people for exercising the most basic freedoms. if we are to win this struggle and spread those freedoms, we must keep our own moral compass pointed in a true direction.” – Barack Obama
Prints have always reflected the social attitudes of the times. sometimes as propaganda to influence or control, other times as a rebellion against the morals imposed by others. We are in conflict at this time. Be in the class war of the haves and the have-nots, the loss due to natural disasters (hurricane, earthquake, tsunami, etc.), or the loss due to political maneuvering (war, terrorism, financial recklessness and fraud), navigating the current environment is a complicated journey. who decides what is moral and is it necessary to follow a moral compass? Is there one true most compass to guide us or is everything relative?
Image Credit: Melanie Yazzie, Marriage, 2012, screenprint and encaustic sewn.
Photo credit: Tracy Pilzer
Organizer: Susan Camp
Artists: Rosemarie Bernardi, Susan Camp, Margaret Craig, Bernice Cross, Susan Mackin Dolan, Elizabeth Dove, Susan Groce, Joel LeVasseur, Phyllis McGibbon, Traci Molloy, Sandra Murchison, Danuta Muszynska, Meg Brown Payson, Liz Prescott, Kris Sader, Ralph Steeds, Susan Webster
Metaphors are commonly perceived as devices used for the literary arts, or ways to sort through meaning by comparison when encountering a new concept. But metaphor has been shown to be pervasive in more than just language. It is particularly pertinent as a catalyst for innovation and invention. In an essay on
William Harvey, Jonathan Miller asserts that it was Harvey’s contemplation of the fire pump, which helped him grasp the way that the human circulatory system functioned. Without creating a satisfactory metaphor, utilizing imagery from a completely different field, Harvey would not have had the ability to understand what he was seeing in the human body.
Contemporary metaphors emerge as knowledge expands. How do these new conjectural models from different fields such as biology, physics, medicine and technology, and the metaphors they offer, influence our visual work? We often discuss the influence of science and technology on our process as printmakers. However, the ability to understand, locate, visualize and produce imagery is also a product of understanding our world through current metaphor. In this portfolio we inspect the importance of current metaphorical information in the way that we look at, interpret, understand, and produce visual imagery.
“On Water Bodies: Beyond Horizon”
Organizer: Kimiko Miyoshi
Artists: Frol Boundin, Kevin Haas, Jong-Ryeol Kim, Eunkang Koh, Kimiko Miyoshi, Julia Morrisroe, Tim Musso, Cynthia Osborne, Marilee Salvator, Sarah Whorf, Melanie Yazzie
On Water Bodies, explores and investigates the human interference on the fate of natural water bodies around the world. International printmakers of diverse localities participate in this inquiry as we collectively acknowledge that the water’s cyclical distribution makes no partition and our bodies of water are not isolated.
Throughout history, prints disseminated various ideas and helped to reveal newly discovered or constructed “truths.” This aspect of printmaking’s tradition resembles ocean currents and the navigation of ideas. This group of artists attempts to foster the discussion and understanding of issues involving our water bodies through this print project.
Organizer: Terri Dilling
Artists: Robert Brown, Sandy Brunvand, David Chioffi, Dale Clifford, Daniela Deeg, Terri Dilling, Rich Gere, Oscar Gillespie, Joey Hannaford, Leslie Kneisel, Cynthia Lollis, Timothy McDowell, Deb Oden, Stephanie Smith, Matthew Sugarman, Cynthia Thompson, Marie Weaver
Throughout history there have been many interesting connections between Art and Science. This portfolio relates to an intriguing area of current research: chemical evolution, the study of which tries to understand the ways simple elements and molecules came together to eventually form a living thing. Scientists want to comprehend the processes from which life originated, and how that knowledge might be beneficial today, ranging from medical breakthroughs to possibilities for life in outer space. For artists, there is a range of ideas to explore, including imagery of evolving shapes and patterns, chemical structures, rocks, oceans, even outer space!
Terri Dilling, president of the Atlanta Printmakers Studio, has organized this portfolio. Her idea emerged from an interest in the connections between chemical evolution and the printmaking process itself, especially notions of diversity and reproduction. Participating artists have chosen an aspect of the research that interests them or relates to their own artwork in some way. The title “Primordial Soup”, refers to the conditions of an ancient earth, but is also a nod to Andy Warhol and printmaking history. Besides an obvious connection with water and the oceans of early earth, this portfolio navigates the currents of contemporary science, responding to these ideas in creative ways.
Organizer: Brett Schieszer
Date: Saturday, March 17, 2012
Location: Grand Couteau Room
Participants: Tonia Bonnell, Andrew Burkitt, Sean Caulfield, Lisette Chavez, Nicholas Dowgwillo, Karla Hackenmiller, Jill Ho-You, Leslie Grossman, Mari LaCure, Yoonmi Nam, Dana Peters, John Pusateri, Brett Schieszer, Jon Swindler, and Olivia Timmons
The feeling of dislocation is at the heart of contemporary culture. To forbear this feeling, we locate north, reach for a map, or look to the stars. “Taking Bearings,” involves the positioning of self in relationship to one’s surroundings. These surroundings exceed the physical space we inhabit; they surpass current movements in technology, society, and, yes, printmaking. Artists need to colligate their own personal, physical, and emotional environments. It is easy to get swept up in larger cultural currents, losing track of our individualized constellations. Within the contemplation of one’s own relationship to this time and space, perception can be formed, the ambiguous can begin to be defined, and a path can become evident.
How do I fit in the space/world around me? By seeking a personal, emotional, primordial, and instinctual understanding of our environment and our interaction with it, we will create the next current.
Photo Credit: Leslie Grossman
“Tangled Up in Blue/Tied to the Mast”
Organizer: John Driesbach and Johntimothy Pizzuto
Artists: Artists included: Marwin Begaye, Elizabeth D’Agostino, John Driesbach, Gary Kaulitz, Ina Kaur, Frank La Pena, Eileen McDonald, Ray Must, Johntimothy Pizzuto, Andrew Polk, Kathryn Polk, Carolyn Thorington, Larry Schuh, Melanie Yazzie, April Vollmer
From “Over the Rainbow” to “Route 66” traveling, whether home to Penelope in Ithaca or down the yellow brick road to Oz, has been the stuff of myth and song throughout history. Artists in this portfolio have examined travel in song and myth. Life’s cross currents, that is, travel and travail, moving through time, moving through life, are chronicled in twenty-five images hand printed through traditional and non-traditional means.
“The Big Ten”
Organizers: John McCaughey
Artists: Martin Azevedo, Marcus Vincent Benavides, Laura Bigger, Ben Brockman, Gregory Scott Cook, Galen Gibson-Cornell, Jane Hargrave, Julian Hensarling, Jesse Howell, Amanda Lilleston, John McCaughey, Megan Mcleay, Teresa McNecessary, Neal Pitak, Michele Randall, Kayla Romberger, Rachel Singel, Lisa Wicka, David Wischer, Jacob Varty
The Big Ten Print exchange was created by John McCaughey, a graduate Printmaking student at The Ohio State University, in the Fall of 2010. Inspired by the Big Ten Athletic Conference, this print exchange was intended to display the diverse talent of the ten universities that are part of that institution and create a dialogue amongst them. Coincidentally the Big Ten has some of the most respected printmaking programs in the country. These schools are as follows:
University of Wisconsin – Madison, The University of Iowa, The University of Indiana – Bloomington, The Ohio State University, University of Michigan, Michigan State University, University of Nebraska – Lincoln, Penn State University, University of Minnesota, and Purdue University. One student was chosen by a faculty member at each university to represent their program in the print exchange. Like SGC, this print exchange is meant to bring artists together, to allow the flow of ideas, and to give the opportunity to highlight the talent of these emerging artists and their respective programs.
“Voodoo: LSU Printmaking Workshop”
Organizer: Benjamin Rinehart
Artists: Donya Allison, Katrina Andry, Kimberly Paul Arp, Jocelyn Barrable, Lisa Bigalke, Jim Bryant, Jim Burke, Carmon Colangelo, Emily Cook, Neil Daugherty, David DuBose, Sujata Gopalan, Jeff Hirst, Stan Kaminski, Brian Kelly, Leslie Koptcho, Ryan Lindburgh, Tonia Matthews, Mary Modeen, Sandra Murchison, Johanna Paas, Benjamin D. Rinehart, Andrew Saluti, Jenny Saluti, Lee Simmons, Renee Smith, Sean Stewart/Starwars
This portfolio features a collection of recent works produced by the faculty and alumni of the Louisiana State University Printmaking Workshop. Although we were not all from Louisiana, we navigated our way into the heart of the bayou from nearly every corner of the United States. The artists were asked to reflect on and depict a specific memory or experience associated with living in the south. The people, the food, the environmental hardships, and the culture make LSU a special place for artistic development and forming talented educators. The strength of this program is demonstrated by the success of each individual represented in this portfolio going back to 1980. The portfolio is an example of how we all continue to do, the voodoo, that we do so well.