SGC Conference 2010, Tyler School of Art, Slideshow

EyeWitness News: When Prints Were Truth (Part 2)

The panel brings together two historians concerned with images as documents and an artist/printmaker whose images address out-of-sight actions (and atrocities) in times of modern war. Each will discuss and show examples of the relations between verbal testimony and photographic images as source material and the prints that ultimately circulate as embodiments of the information they address. After the presentations are concluded, the participants will discuss common threads that emerge from their disparate studies and take questions from the Chair and audience

EyeWitness News: When Prints Were Truth (Part 3)

The panel brings together two historians concerned with images as documents and an artist/printmaker whose images address out-of-sight actions (and atrocities) in times of modern war. Each will discuss and show examples of the relations between verbal testimony and photographic images as source material and the prints that ultimately circulate as embodiments of the information they address. After the presentations are concluded, the participants will discuss common threads that emerge from their disparate studies and take questions from the Chair and audience.

EyeWitness News: When Prints Were Truth (Part 4)

The panel brings together two historians concerned with images as documents and an artist/printmaker whose images address out-of-sight actions (and atrocities) in times of modern war. Each will discuss and show examples of the relations between verbal testimony and photographic images as source material and the prints that ultimately circulate as embodiments of the information they address. After the presentations are concluded, the participants will discuss common threads that emerge from their disparate studies and take questions from the Chair and audience.

fstMdia/sloKnow (Part 1)

Print culture now occupies a compelling paradigm between fast and slow, from engraving to LED. We have absorbed an ethos that feeds on rapid access to information. But there is a difference between knowledge which fosters understanding and change in our technological landscape and the knowledge that reveals our actual relationship to one another, to culture and society. Information can be transmitted and expended quickly. Slow knowledge, like slow food, fosters awareness, engages community consciously, and intensively – it isn’t really slw at all. Analog printing is steeped in slow knowledge. Does digital media’s velocity determine the depth of its impact?

fstMdia/sloKnow (Part 2)

Print culture now occupies a compelling paradigm between fast and slow, from engraving to LED. We have absorbed an ethos that feeds on rapid access to information. But there is a difference between knowledge which fosters understanding and change in our technological landscape and the knowledge that reveals our actual relationship to one another, to culture and society. Information can be transmitted and expended quickly. Slow knowledge, like slow food, fosters awareness, engages community consciously, and intensively – it isn’t really slw at all. Analog printing is steeped in slow knowledge. Does digital media’s velocity determine the depth of its impact?

The Monolith Meets the Microchip, Stone Lithography Becomes Digital Lithography: Demonstration

For the first time since lithography was invented in 1798, the artist may now personally coat a lithographic stone with a high quality positive photo coating to combine hand drawing with digital images. Delicate graphite drawings on Mylar, reticulated was drawings on film, four color separations and Adobe Photoshop generated film positives can be exposed to the stone. Artists may add hand drawing at any time to the ‘photo’ images using traditional drawing materials. The developer is aqueous-based and simple to use. Dwight Pogue and Mark Zunino look forward to showing printmakers how to use low-tech to produce high definition digital lithographs.

The Hectograph Revisited/Gelatin Printing: Demonstration

Gelatin printing was the Hectograph of the mid 1900s, used by teachers to make copies. Today it is a printmaking plate with no press needed. It is versatile, and uses a full complement of print language and color. Materials clean up with water and archival printmaking papers are used. Demonstrators will print from clear gelatin with a prior embedded image. Demo participants have the opportunity to respond to the embedded image, work on the gelatin surface, make their own mark, (or more appropriately, Remarque) and pull and take a print away with them.

For gelatin printing handouts and recipes visit:
http://www.printmakersopenforum.org/services

Non-toxic electro-etching, using traditional and digital intaglio Techniques

Pussycat Press master printers Mike McMann and Jason Scuilla will demonstrate an electrolytic etching system readily available, inexpensive equipment, a non-toxic solution and low voltage electricity. Electro-etching is the safe removal of metal from the exposed plate surface. Building on the research of Nik Semenoff, Cedric Green, and Stanley William Hayter, this demonstration will explore the possibilities of various traditional and contemporary intaglio techniques including, conventional and acrylic grounds, open-bite, aquatint, and digital applications. The session will include a discussion of equipment and setup options as the participants are taken through this innovative plate making process.

Alternative Approach Relief Printing Etching Studio: Demonstration

This demonstration will focus on Alternative Approaches to Relief Printmaking, using uneven pressure to produce beautiful, spontaneous, and multi-layered prints. A process relief will be the core of this demonstration. This process, using matrices carved out of mat board produces soft, diffused images that are very different from the graphic marks learning how to approach relief printmaking from a fresh, new perspective to compose rich, layered prints.