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Saturday, 10:00-11:30 am

CommandPrint Featured Panel

Chair: Steve Murakishi
Panelists: Mark Harris, Johanna Drucker, Shelley Langdale

Printmaking was one of the very first replication technologies and is now poised, as it integrates digital media and expands its conceptual borders, to occupy a pivotal position in contemporary art and culture. Print media, as an idea involving reproduction, multiplication, and distribution is an obsession and driving force of the industrialized world. Today we are surrounded by prints at every turn – newspapers, magazines, books, posters, billboards, product labels and packaging, t-shirts, even money. Topics may include, but are not limited to critical discourse regarding the work of art in the age of electronic reproduction, expanded notions of print media and theory, the plight of material and process specific disciplines, marginalization, and understanding printmaking’s shift to a place of leadership in the postmodern terrain.



Thursday, 1:00 - 2:30 pm

Caught in the Web: Navigating Narratives

Chair: Syd Cross
Panelists: Rosi Bernardi, Art Werger, Christina Nguyen Hung, and Heather Freeman

In this panel presentation and discussion artists will address how the internet and communication technology, as a resource and a medium, changes the way we develop ideas, affect narratives, and engage printmaking. The aim is to expand that dialogue to confront how contemporary navigational tools in communications affect printmaking’s continuing history and the tradition of narrative. Has technology abbreviated the narrative as it has our language? Is there a visual equivalent to text messaging? What are the questions we ask ourselves and our audience? How has the internet changed the use of the figure/body?   Each panel member has a particular relationship with digital and/or web technology that shapes their use of printmaking and multiples, giving the medium new possibilities for meaning. 




Thursday, 1:00 - 2:30 pm

Printmaking is the Discourse

Co-chairs: Charles Beneke and Jean Dibble

Panelists: Dean Dass, Phyllis McGibbon

The resonating spirit and energy of far too many printmaking conferences is dulled by assumptions of the subservience of printmaking to the “higher” arts and calls for the need of a discourse for printmaking. We pronounce in clarion tones that PRINTMAKING IS THE DISCOURSE. Printmaking is a nexus of all art practice. Rooted in traditions of democracy and diversity, communication and collaboration, problem solving and progress, it provides a format for learning and a model structure for artmaking practice. The printmaker has an advantage: a built-in language that teaches the user how to identify and think through problems. This panel will take an academic approach to the discussion and substantiation of these assertions. Following the delivery of individual papers, a respondent will be invited to contribute his or her observations and instigate discussion between panelists and members of the audience.




Thursday, 1:00 - 2:30 pm

Sample This: Appropriate Appropriations in

Print Media

Chair: Jenny Schmid
Panelists: Ruthann Godollei, John Hitchcock, and Michael Krueger

Sampling of images comes naturally to printmakers, as our media makes appropriation more possible through evermore immediate and accurate technologies.  With a culture of sampling and remixing, the next generation seems even less concerned with any rules around the use of images.  After the work of Sherrie Levine, many consider any ethical concerns around stealing to be moot.  But cases such as Rogers v. Koons (in which Koons used the work of Art Rogers directly and lost the case) demonstrate that artists do not have unchecked access to using the work of others.


This panel will consider the sampling of imagery for political and artistic means and the implications of this when using both old and new print technologies.  We will examine appropriation in the classroom, as artists and through history.  We will consider when appropriation is appropriate, how it inspires and the ways it has been used for subversion




Thursday, 4:00 - 5:30 pm

Bits and Atoms: Tangibility, Transience, and

Digital Production

Chair: Deborah Cornell
Panelists: Jose Roca, Sue Gollifer, Carlton Newton

The past few decades have seen an explosion of digital innovation that has energized the discipline of printmaking, generating both possibility and doubt. Concurrently, issues of transience and tactility arise that interrogate the cultural positioning of artists works generally and printed works specifically.


Printmaking is guided by rules of replication that control its value. Digital methodologies generate prints that are hard evidence, but the digitally coded image is also a transient image, seen on a glowing screen, as template, video, internet, or even dimensionally. Infinite repetition and digital linking to this transient image creates an accessibility that used to be the province of paper – light pixels substituted for the atoms of the object – that creates a different kind of value. Process issues such as infinite saves, light versus pigment, and digital form versus substance, invite a redefinition of the art object and an examination of the constraints and advantages of materiality.

The context in which these alternatives occur dictates whether the resulting artwork transpires within or outside of the sphere of recognized fine art, and the fine art marketplace. This panel will address questions of artistic process, access and audience, value and permanence.   


“While the overwhelming tendency of contemporary media art is to move from the atom to the bit…artists must surely…bring about the coexistence of bit and atom.” Itsuo Sakane   Curatorial statement for “Sensitive Chaos”



Thursday, 4:00 - 5:30 pm

Student Panel

Shortcuts for more Pleasing Realities: How

Computers Make Our Art


Chair: Jill Zevenbergen Virginia Commonwealth University
Panelists: Amanda Benton - University of the Arts, Vincent Finazzo - Columbia College, Nicole Pietrantoni - University of Iowa


Alternate realities. Reality shows, video games and Facebook all are tied into the digital and allow us to escape our daily monotony. Does using digital techniques in printmaking serve the same escapist purpose? It allows for shortcuts using trickery and creates alternate and more pleasing realities. How do we, as young artists, make use of such processes without forgetting the historical value of the print medium?




Thursday, 4:00 - 5:30 pm

The Construction of Malleable Language

Co-Chairs: David Chioffi and Cynthia Thompson
Panelists: Gail Deery and Lesley Dill

The culture of mark construction has been rethought and vastly extended through the instancy of the digital platform in which the command P combination keystroke resides. This swift hand sequence that enables practitioners to experience the immediacy of diverse printed matrices would be envied by Johannes Gutenberg and the typographic revolution he began.

This panel will explore the diversity of printmaking within the panoramic academic landscape and the construction of malleable language within the concept of an extended print. It is assumed that the action of command P implies the physicality of producing one realized format from a preceding sequential action. We have chosen to apply this action within the scope of the matrices of typography and the visual topography they create— within an academic and professional environment— and the resulting bodies of work created by these two distinct constituencies.




Friday, 10:00 - 11:30 am

Syntax of the Print Revisited

Chair:  Beauvais Lyons
Panelists:  Ruth Weisberg, Hugh Merrill, Shaurya Kumar

In the mid-1980’s Ruth Weisberg published “Syntax of the Print: In Search of an Aesthetic Context” in The Tamarind Papers. Using a structuralist approach, the essay sought to identify a theoretical framework unique to printmaking based on its function, processes and materials.  This session will offer an opportunity to examine the evolution of critical theory in printmaking since the publication of Weisberg’s essay. Have changes in print practice, which include exploration of relational aesthetics, digital methods of image reproduction, manipulation and production, and the use of prints as part of the creation of installation art transformed the essential critical syntax for printmaking? Is the repeatability and reproducibility of the print, especially from a global perspective, more or less important to printmaking today? What other aspects of print practice have evolved, and how do these changes inform a new critical syntax for prints?




Friday, 10:00 - 11:30 am

Education Panel: Teaching with Digital Savvy

Chair: Janet Ballweg
Panelists: Michael Connors, Rachel Simmons, and Kjellgren Alkire

Feeling overwhelmed by new technologies in the classroom? Does the mention of blogs, wikis and podcasts leave your head spinning?  This panel will present a range of possibilities for delivering course content with digital media, focusing primarily on the use of online tools such as course management systems, databases, Second Life, YouTube, wikis, blogs, and podcasting.  Panelists will give a quick overview of these instruments and present a range of classroom and collaborative projects in which these technologies have been used to enhance traditional pedagogical strategies and engage students in alternative forms of learning. Discussion will include reflections on the access and distribution of democratic information, learning behaviors of current students, and synchronous vs. asynchronous teaching structures as related to teaching printmaking.




Friday, 10:00 - 11:30 am

The Printmaker in War Time

Chair: Paul Mullowney
Panelists: Sandow Birk, Daniel Heyman

March 2008 will mark the fifth anniversary of the American-led invasion of Iraq.  Presently, with the unpopular war spiraling out of control, America is beginning to realize that extricating itself from the conflict will be a long, hard road.  Many people are beginning to ask, what is the responsibility of the artist in such a situation?  How does one address the task of making art that deals with the age-old horrors of war?  Is it even necessary to do so?  What are our moral obligations and how do we look to printmakers who have come before us for inspiration and direction in our work?


This panel discussion will examine the role of graphic war reporting past and present.  Starting with Jacques Callot’s series of etchings “The Miseries of War” and examines the influence this work on Goya and the artists to this day.




Friday, 1:00 - 2:30 pm

Archiving Prints with Digital Media

Chair: Richard Waller
Panelists: James Stroud and Charles Ritchie

While the blending of traditional printmaking media with digital processes has been in practice for more than a decade, the increasing combination of these techniques poses unique challenges to archiving contemporary prints. Some of these digital technologies differ only in terms of image creation however they utilize traditional and/or archivally sound printing methods. But other techniques and modes of storage present new challenges, such as maintaining a digital file as the primary print source as opposed to a work on paper. This panel will discuss different institutional approaches to collecting, studying, safeguarding, and conserving prints that involve varying degrees of digital media, as well as how artists’ use of new technologies will impact future archives. 




Friday, 1:00 - 2:30 pm


Chair: Mark Franchino
Panelists: Lance Winn, Brant Schuller and Deborah Barkun

Philosopher, literary critic, and communications theorist Marshall McLuhan in his famous work, The Medium is the Massage: An Inventory of Effects wrote, “All media work us over completely. They are so pervasive in their personal, political, economical, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us untouched, unaffected, unaltered.” Our lives are overwhelmingly occupied by mediated information and experience—print, video, web. This panel will discuss the ways in which artists are constantly adapting to the expansion and merging of media and how some are using mediated forms of visual communication to discuss issues raised by the media/medium itself. Print media is central to this discussion as a method of communicating that can, and does, incorporate a limitless array of tools and techniques from post to present.




Friday, 1:00 - 2:30 pm

International Panel

New Dresses, Old Questions: The symbiosis with

technology and its new metaphors

Chair: Alicia Candiani (Argentina)

Panelists: Olga Margarita Davila (México), Patricia Villalobos Echeverría (USA/Nicaragua), Enrique Leal (Spain)  

Through history, confronting Art with new technologies always trigged to establish new dialogues or to invent a new culture that embraces a new sensibility.   In the third millennium the impact of digitally printed images on perception, together with the use of electronic media and interactivity, altered all the aspects of social communication. Digital media has had a colossal impact on the visual arts only comparable or even bigger than the Gutenberg's movable type printing in the second millennium. However, the scale of this impact has not been matched with the understanding how digital images break the bonds of time-honoured norms of identity, originality and production. Simultaneously, the possibilities for a new generation of prints that mixes mechanical and chemical procedures with the potential of digital technology printing, being neither analogue nor totally digital, emerges as potential fresh ways of representing new experiences and innovative ideas. Within this conceptual frame of reference, this presentation will focus on how contemporary Printmaking is confronting new technologies and how this new dialogue broadened the field, stimulating the processes of displacement and hybridization with other artistic media.