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Member Portfolios




Are We There Yet?

Organizer: Kevin Haas


Are We There Yet? explores the proliferation of highways, strip-malls, mega-malls, parking lots, corporate office parks, hotels, conference centers, airports, and the like, which have created what are know as ‘non-places’: spaces in which people seem almost incidental. Often banal, generic and inhuman, these spaces are designed for mobility and consumption where public space and human communication are diminished or made irrelevant. Their ubiquity and sameness create repetitive dislocating environments unable to produce sites that might be seen as places of meaningful human agency and interaction. Printmaking flirts with the potential for mass production and can attempt to maneuver against privatized and controlled space. The prints included in this portfolio are a response to these non-places that seem to fill a greater and greater part of our lives. They explore the effects on psyche, community and the environment and address our complicity with, reaction against or how we embrace, these non-places. The portfolio Are We There Yet? will be an opportunity for individual voices to take command of the built environment through prints and multiples.


List of participants:
Scott Kolbo, Erik Waterkotte, Randy Bolton, Kim Beck, Heidi Neilson, Gretchen Bennett, Arturo Rodriguez, Barbara Ziegler, Nancy Jo Haselbacher, Kristin Ramirez, Nick Conbere, Amze Emmons, Barbara Foster, Nadine Bariteau, David Jones, Kevin Haas





Atlantic Coast Conference Print Exchange

Organizer: Jonathan Thomas

Collegiate conferences are essentially athletic leagues loosely based on the geographic location of its members. In an era of big business collegiate athletics, membership in a conference is primarily a financially driven reality. The primary reason for this portfolio is to modestly link ACC schools for a reason outside of athletics, through another means of expression and collaboration, the arts. A print exchange functions particularly well to perform this act because the medium inherently involves spirited collaboration, shared space and time, and intellectual exchange. Each school in the ACC has a rich individual history and national presence, yet conference membership, essentially a form of collaboration, is a critical part of each schools health and identity. The theme of the exchange is the term Rivalry, as it applies to a competitive or antagonistic state or condition. The breadth of this theme allows for a range of interpretation, both positive and negative, social and political, with an overriding concern for both group and individual dynamics.

List of participants:

Jonathan Thomas, Lise Drost, Bethany Pelle, Kathleen Hudspeth, Ana Gonzalez, Barbara Scheer, Barry Sparkman, David Faber, Beth Grabowski, Mike Sonnichsen, Akemi Ohira, Dean Dass, KP Bowens, Gretchan Huffman, Po-Chi_Chu, Denise Bookwalter, Margo Humphrey, Merrill Shatzman, Brent Cole, Petrina Folsom





Discovery:  The Tradition of New Tools

Organizer: Diane Fine


This portfolio includes the work of thirteen contemporary printmakers.  Each participant was asked to create two prints.  Though rooted by the same concept, one print was produced using only traditional printmaking methods, and the other was realized entirely digitally.
This exercise was intended to answer some questions about the interface of new technology with traditional printmaking modes.  What, if any, cognitive differences occur in the use of these separate tools?  Does one’s content dress differently in the two distinct arenas?  What does one keep and what does one discard as shifts are made from one medium to the next?  By applying the constraints described between the two prints (one entirely traditional, the other entirely digital), but allowing the concept of both prints to be squarely located within the artists’ oeuvre, the intention was to fuel each artists’ discovery process about the place of each system within their own art production.

List of participants:

Lynne Avadenka, Sean Caulfield, Diane Fine, Beth Grabowski, Susan Greenspan, April Katz, Tina LaMour, Mario Laplante, Phyllis McGibbon/Mark Wilson, Kathy OConnell, Brian Reeve, Lauren Schiller



Hardwired for Pattern

Organizer: Sarah Whorf


Repetition of printing, repetition of pattern, repetition of motif, repetition of idea, back and forth, repetition of motion, of thought, in the groove, in the pattern, of the roller, the pencil, the needle, the squeegee, the press bed, the gouge. Participants in this portfolio are disposed, obsessed and hard-wired for pattern.  We do and endlessly repeat.  We are in the service of pattern in all its manifestations, from the hand-drawn to the computer-repeated.  We are mechanically precise and humanly loose.  We are entranced and satisfied by visual pattern.


List of participants:

Jennifer Anderson, Cynthia Osborne, Susan Goldman, Kathryn Maxwell, Teresa Otten, Richard Peterson, Johntimothy Pizzuto, Roxanne Sexauer, Myra Feely & Sydna Lattemann, Marsha Shaw, Oscar Gillespie, Sarah Whorf





Made in the USA

Organizer: Jon Goebel


Since the advent of printing machinery, technologies have progressed in such that various types of information can quickly disseminate to huge masses of people. Media has infiltrated so many aspects of daily life, that it is nearly impossible to avoid it.   Television, printed material, radio, and the internet are all integral parts of society today and provide a tremendous venue for the communication of news, entertainment, knowledge, and advertisement. 
The theme of the Made in the USA portfolio is intended to examine the role digital technologies play in shaping popular culture as well as its influences on contemporary printmaking.   The social implications of printed matter as a device to communicate and criticize will be embraced in this folio.   Participants will be encouraged to examine topics and issues that reflect upon how American culture is impacted by capitalism and technology.


List of participants:
Dan Altstadt, Brandon Gardner, Rachel Gardner, Jon Goebel, John Hitchcock, Yuji Hiratsuka, Mike Houston, Crystal Kanney, Lynwood Kreneck, Rachel Madeline, Michelle Martin, Peter Massing, Ben Moreau, Meghan O’Connor, Lloyd Paterson, Sean Star Wars, Roger Steele, Crystal Wagner, Josh Watts





Print By Number

Organizer Shaurya Kumar


When people discuss the use of the digital technology in the realm of art, it is often dominated by the critique against the missing physical “mark” of the artist. There are some discussions also about the authorship of the artist, the lack of physicality and most importantly, the absence of the “aura” in the work. This portfolio will not only attempt to illustrate the versatility of the digital technology to make artworks, but will also try to show that it has an aesthetic that is unique to itself. The word “Number” refers to the language of the computer and the conversion of all data into bits (0s and 1s). The phrase “Print by Number” thus refers to the prints that are produced using the digital technology. Each artist would thus be free to interpret the theme and would have complete freedom in creating prints that are purely digital in their image creation and output; or could be made in collaboration with traditional art making methods.


List of participants:

Janet Ballweg, Deborah Cornell, Benjy Davies, Beth Grabowski, Kevin Haas, Melissa Harshman, Christopher Hocking, Anita Jung, Ina Kaur, Shaurya Kumar, Gregory Little, Hilary Lorenz, Tracy Molloy, Sandra Murchison, Kristin Powers Nowlin, Ben Rinehart




Printmaking IS the Discourse

Organizers: Charles Beneke and Jean Dibble


We have nailed our edict upon Printmaking’s door. This portfolio is a visual companion to the panel presentation “Printmaking IS the Discourse.” The participants have been invited to create images with no restrictions in media in response to our pronouncement that printmaking IS the discourse.


List of participants:

Anne Beck, Charles Beneke, Christopher Canon, Dean Dass, Jean Dibble, Joe D’Uva, Wanda Ewing, Adriane Herman, Matthew Hopson-Walker, Ina Kaur, Michael Krueger, Jeremy Lundquist, Robin McClosky, Phyllis McGibbon, Justin Quinn, Kathryn Reeves, Francisco Souto, Adam Wolpa




“Zou Ba” Exchange Portfolio

Organizer: Beauvais Lyons


“Zou Ba” was created by artists involved in the Sanbao Printmaking Tour in China in May and June of 2007. “Zou Ba”, which translates in Chinese as “Let’s Go,” is comprised of work by 15 artists.


Titlepage & Collophon designed and printed by Beauvais Lyons.


List of participants:

Lynne Allen, Margaret Craig, Eriko Fujita, Beth Grabowski, Lydia Jergusova-Vydarena, Beauvais Lyons, Phyllis McGibbon, Jaana Paulus, Patsy Payne, Antti Ratalahti, Minna Resnick, Linda Soberman, Rebekah Tolley, Sergei Tsvetkov, Susan Weisend,





Organizer: John Pyper


Technology lives on a slippery slope. It comes and goes as commercial viability and aesthetic expectations change. Industry is always trying to replace what is cutting edge with new and greater technologies. As industry casts off its old machines, artists often benefit by absorbing the technologies that are sent out to pasture.  One of those victims, letterpress, is capable of much more than inviting people to weddings and making stationary. The letterpress community has as diverse an expression as any other print media. Currently, there is a new generation of printers that are taking advantage of both the recent aesthetic and technical innovations available to them. With the advent of type-high photopolymer blocks, letterpress artists moved their work into the digital age and sped their creation of new images.  Here are 16 such artists who have made new works to show off their skills.


List of participants:

Michael Babcock, Nicholas Baute, Alex Brooks, Rob Charlton, Michelle Drehe, Jan Drojarski, Dirk Fowler, Amelia Grohman/Tae Won Yu, Jenny Hughes, Ryan Nole, John Pyper, Katherine M. Ruffin, Claire Taylor, Brian Turner, Sarah Turner, Eric Woods





Organizer: John Pyper


Commercial printers have been creating images on three-dimensional objects for years. To these ten artists Fine Art printing shouldn’t limit itself to using paper as its support. Sure it makes things more complicated, but when have we backed away from a print challenge? When creating a three-dimensional print it is necessary to more acutely consider the relationships between the print, the support, and the viewer’s experience/expectations of
these objects. Let the challenge begin!


List of participants:
Mark Franchino, Raul Gonzalez, Rachel Gargiulo, Willow Hagge, Jessica Merrell, Carolyn Muskat, Ted Ollier, Rhonda Ratray, Brant Schuller, Shawn Williams




Tracing distant shorelines: An international portfolio exchange between China Academy of Art, Hangzhou, China, and University of Wisconsin, Madison

Organizers: Waverly Weiqun Liu, John Hitchcock, Frances Myers

Titled "Tracing Distant Shorelines", our folio stresses that the traditional art of printmaking enables artists on different continent who come from vastly different cultural, historical, and language background communicate with each other.  We are ambassadors who represent our culture and country of United States; while the Chinese artists bring their distinct eastern sensibility and the long history of traditional Chinese woodblock printing technique (as opposed to the Japanese woodcut technique) which is so little known and promoted in the west.
 This folio not only pioneers the cultural communication between the contemporary Chinese art world and our university, also is very much a ground-breaking event which marks the start of a conversation between the art world of our two countries. In Europe, such conversation has been going on for years, their art scene much more diverse and international; While in the United States, in spite of our thriving art scene, we are quite behind in this area, and this folio has filled the blank, and leads to new opportunities which will truly expand our horizon and move our art forward. Our effort will prove to be worthwhile, and will lead the way to a long journey which will expand our horizon and vision, bring our pursue of art to a new level.    


List of participants:
Jenny Angu, Michael Connors, John Hitchcock, Nikki Hogan, Marisa Martino, Mike McMann, Anna Moisiadis, Frances Myers, Alex Peña, Dennis Peterson, Sarah Plummer, David Raine, Tim Speaker, Any Port In A Storm, Emerson Stone III, Aries Tjhin, Kate Troyer, Waverly Weiqun Liu, Gao Chuan, Zhang Xiaofeng, Chen Yunjie, Jin Qundan, Li Guodong, Li Ying, Li Yong, Ling Yunfei,
Liu Xiangyang, Tang Manwen, Wang Chao, Wu Jun, Zhao Chao, Zhao Liying, Zhou Congzhang, Zhu Hong'an, Song Weifeng, Kenita Takenahi,







Vitamin I

Organizer: Johntimothy Pizzuto


From mankind’s earliest days, experiences and information were transferred to others through the scratching of marks into the surface of stone and bone.  As man evolved, so did the technology that was employed to create images.  Today, all graphic arts have their roots grounded in the rich fields of traditional printmaking.  Information, knowledge and aesthetic beauty have been transformed by the powerful medium of the printed image.  Perhaps one of the greatest vehicles of change for the world of mankind has been the reproducible image.  In the collective spirit of this years Southern Graphics Council Conference’s Theme Command P, we have devised a portfolio exchange entitled Vitamin I.  Vitamin I will be a celebration of traditional intaglio processes, part of the rich soil of printmaking’s history.  Participants may use any single traditional intaglio process alone or in combination with other traditional intaglio process.  Prints can be black and white, color or a combination of the two.  All prints must be hand generated, solely using traditional hand processes, and printed by hand. No photographic or digital processes in the actual print.  Pure intaglio.  The kind of fortified vitamin printing that is the foundation of Command Print.  Traditional intaglio is a time released Vitamin in this world of desire for instantaneous results.


List of participants:

Johntimothy Pizzuto, Garry Kaulitz, Larry Schuh, Rockie Toner, Art Werger, Victoria Goro-Rapoport, Oscar Jay Gillespie, Cynthia Alderete, Brad Widness, Kevin Bowman, Karla Hackenmiller, Carrie Lingscheit, Cerese Vaden, Emily Wilson, Fred Hagstrom, Nicole Hand, Brian Jones, Lloyd Menard, Yugi Hiratsuka, Mark Ritchie, Rudy Pozzatti                    



Lithography - From Stone to Digital

Organizer: Eunkang Koh


Throughout the history of lithography, various techniques have been introduced to artists. In the beginning, limestone was widely used. Later, printers started using aluminum plates as an alternative surface. Photo process has had such an impact on the history of printmaking. Recently, digital processes have been added to all other techniques in lithography.

Lithography has attracted many artists because of its unique qualities. The purpose of the print portfolio exchange, ì Lithography-From Stone to Digital,î is to have a discussion about the journey of lithography as a medium. From the portfolio, we can see how each artist explores their chosen imagery within this category and how their art making processes show different effects depending on the techniques used.


List of participants:

Jennifer Anderson, Jeff Sippel, Paul Croft, Kevin Hass, Brooke Steiger, Eunkang Koh, Kimiko Myoshi, Sungwon Park, Michael Barnes, Cynthia Osborne, Yanghee Kim



The Machine Stops ( or Inkjet My Foot! )

Organizers: Andrew Polk and Kathryn Polk


E.M. Forster's 1909 short story, 'The Machine Stops', describes a humanity threatened by its complete dependence upon the technology it created. Forgetting that it was the original creator of the ìMachineî, humankind grows to deify it, to worship it, and ultimately, to follow it to its own demise.

The Machine Stops (or Inkjet My Foot!) is a limited edition print portfolio inspired by Forster's short story. Using his prescient masterpiece as a point of reference, the portfolio explores relationships between humanity and the technological world that is increasingly encompassing it. The intent is to present a collection of fine art prints contemplating the virtues of technological progress through representational, abstract and non-representational imagery. It showcases traditional hand lithography as a central medium while incorporating other such processes that accommodate the theme.


List of participants:

Kimberly Paul Arp, Helen Baribeau, Michael Barnes, Daniel Britton, Tom Christison, Alastair Clark, Clinton Cline, Danielle Creenaune, Paul Croft, Emily Arthur Douglas, John Driesbach, April Flanders, William Greider, Kevin Haas, Brian Kelly, Wayne Kimball, Judy Macklin, Richard Peterson, Sheila Pitt, Andrew Polk, Kathryn Polk, Kent Rush, Takahira Satoshi, Linda Seckinger, Cerese Vaden, Melanie Yazzie                     



P.D.F. Format

Organizers: Meghan O’Connor, Rachael Madeline, Claudia Dishon


The participants of PDF Format were each assigned the name of another portfolio participant for whom they must create an edition. The finished product is not a portfolio based on one overarching theme; rather, it is a combination of observing another printmaker’s style and gearing the subject of the work to that particular artist’s interests. We are interested in this experiment of altering our style, format and our own personal themes. This also serves as a window into how each person’s work is perceived and approached by another.

This portfolio is concerned with breaking out of a format, or way of working. It is about being outside of your comfort zone, making a piece for one specific person. The focus of today’s entertainment is not about the individual; it is about numbers, ratings, and reproduction, making something that tries to appeal to and please everyone. This portfolio becomes something different from the norm, switching the focus back to the importance of the individual.


List of participants:

Claudia Dishon, Rachael Madeline, Meghan O’Connor, Erin Tarte, John Hancock, Katy Seals, Brandon Gardne,r Rachel Gardner, John Goeble, Dan Altstadt, John Hitchcock, Michael Barnes, Nick Alley, Ann Flowers, Joseph Velasquez, Greg Nanney



This Process Cannot Save Us

Organizer: Kelly John Clark


So much of what sustains artistic practice generally, and printmaking more specifically is its emphasis on community. The digital print, however -- an individual’s enterprise carried out in smallish rooms and clean spaces -- seems to run counter to community involvement. Where is the give and take between one’s self and one’s printer, the sprawling concerns of soaked paper, registration, ink viscosity and press sharing? Where is the relationship between the artist their work, and between one artist and another working in the same space? If we are all to take the step into digital printing, and surely we all should, then perhaps we ought to take that step together, and fit digital printing technology down inside our own studio practice and within our relationships to each other. Therefore, as a testament of the importance of collaboration within digital printmaking, all participants in this portfolio will conceive and produce their digital print in collaboration with another artist of their choosing.


Collaborative Teams:

Nick Alley & Becky Atkinson, Laura Berman & Deborah Chaney, Kelly Clark & Adam Desnoyers, Eric Conrad & Yoonmi Nam, Christa Dalien & To Be Announced, Tim Dooley & Aaron Wilson, Mark Hosford & To Be Announced, Rachel James & Bernadette Zacharias, Michael Krueger & To Be Announced



Re-interpreting the Middle East II: Artists Re-thinking

Today's Terminology

Organizer: May Hariri Aboutaam


Re-interpreting the Middle East is a print exchange and a thematic portfolio that is a foundation for a discussion on paper. It functions as an abstraction of behavior (artistic, cultural and social level) and increases the individual understanding of a particular issue by creating the environment for an interactive and thriving community.

This collection furthers the groupís interest to explore the infinite world of terms referring to misrepresentations about the Middle East. This stigmatized Middle East is under a large campaign of invented new terminology some of it action based and some of it descriptive such as: Islam-phobia, the new world, re-create, re-structure, re-map, re-organize all in the name of democratization. Each artist is asked to seek visual representations of these terms within his/her background and experiences.


List of participants:

May Hariri Aboutaam, Sadik Alfraji, Samia Allaw, Sama Alshaibi, Stephanie Bacon, Heather Bryant, Dina Charara, Chaouki Chamoun, Youmna Chlala, Matthew J. Egan, Gordon Fluke, Annie Gedicks, Samina Iqbal, Hiba Kalache, Ina Kaur, Zusan Khayrallah, Scott Ludwig, Heather Muise, Candace Nicol, Andrew Polk, Kathryn Reeves, Jeffrey Rollins, Annie Ross, Farouk Saad, Nada shalaby, Ozlem Silverstein, Sylvia Taylor, Melanie walker, Sue Wilson, Melanie Yazzie, Ala younis, Sang Mi Yoo. Stacy Elko, Elizabeth Klimek and Delita Martin.



LOL the ⌘P BFF 4EVA Portfolio

Organizer: Sarah Watson


On the occasion of 2008 Southern Graphics Council Conference, Studio 23 has gathered a group of VCU faculty, graduate students, and alumni to create LOL the CommandP BFF 4EVA Portfolio. Referring to the condensed language of abbreviations, symbols, and standardized phrases perpetuated by ever expanding digital communication, LOL addresses the function of print in the midst of this newfound domination of the screen (i.e. computers, cell phones, and television). Digital technology is often portrayed as growing at the expense of traditional printmaking, but many young artists prove the two can inform each other. The artists selected represent the recent resurgence of print media in VCU's PAPR department.


List of participants:

Peter Baldes, Trudy Benson, Cindy Eide, Belinda Haikes, Ashley Hawkins, Brooke Inman, Andy Kozlowski, Beth Noe, Bret Payne, Virginia Samsel, Sarah Watson, Jill Zevenbergen