SGC InternationalImage credit: Lu Colby, SGCI Undergraduate Fellow 2021. Immaculate Fatigue. Relief on paper, 28″ x 20″ x 8,” 2020, www.lucolby.com
The mission of this organization shall be to advance the professional standing of persons engaged in making original prints and drawings and to stimulate public appreciation and interest in the arts of printmaking, drawing, and other graphic media through the exchange of professional information among artists and others involved these arts; through the organization, display and circulation of exhibitions of prints and drawings by members and other artists to be shown in educational institutions and institutions which further the arts, for the purposes of study, research, enjoyment, and the advancement of these arts; through awards given to these deserving special recognition in these arts; and through publications to inform members and others of activities and other information deemed appropriate to the aforesaid purposes.
SGC International is an educational non-profit organization committed to informing our membership about issues and processes concerning original prints, drawings, book arts, and handmade paper.
Each year, our annual conference draws participants nationally and internationally. Our awards, publications and exhibitions promote greater understanding, scholarship, and enjoyment of these art forms to the public at large.
Originally formed as Southern Graphics Council, a regional organization for educators of print in the U.S. South, we have grown over the years into the nation’s largest organization of printmakers. We now have representatives internationally, and in 2010 changed our name to SGC International to reflect this broader scope. While the SGC International mission focuses on printmaking, we welcome everyone interested in advancing the dialogue of art, its education, and its processes.
SGC INTERNATIONAL 2020-22 EXECUTIVE BOARD
DR. FAISAL ABDU’ALLAH
The art of Abdu’Allah and his contemporaries in the early 1980s can be evaluated in a manner that fills an important void within available scholarship on the subject of contemporary art in relation to Afro-British culture. What began as an artistic gesture in the 1980s more fully materialised in the early twenty-first century as a complete conceptual approach that questioned issues of race and identity in relation to issues of cultural diversity and multiculturalism. Abdu’Allah’s work broke away from the British artistic establishment and the rules of institutional representation, particularly insofar as he began selecting his subjects from émigré utopia, Afro-British social consciousness, Muslim identity, and working-class life. He also integrated other views of London, portraying it as a city of dislocated communities that were powerless in the existing world of art.
Vice-President of Outreach
A Chicago, IL and Milwaukee, WI native, Tyanna Buie is a visual artist who received her BA from Western Illinois University, and her MFA from the University of Wisconsin-Madison. Buie has attended Artists-In-Residency programs, such as the Joan Mitchell Center in New Orleans, LA, the Women’s Studio Workshop in Rosendale, NY and the Vermont Studio Center in Johnson, VT, as well as maintaining a connection to the community by hosting printmaking workshops and demonstrations, while participating in Healthy Neighborhood Initiatives through the production of public art created for underserved neighborhoods and communities in Milwaukee, and Madison, WI.
Buie has been a visiting artist lecturer in Tennessee, Georgia, Illinois, Indiana, Alabama, Wisconsin, Kansas, Missouri, Rhode Island, and Arizona, while continuing to exhibit her works in numerous juried, group and solo exhibitions throughout the country. Her extensive exhibition record includes: The Contemporary Invitational Print and Drawing exhibition at the University of Hawaii at Hilo, The Haggerty Museum of Art, The Racine Art Museum, The Red Bull House of Art, N’NAMDI Center for Contemporary Art, the Urban Institute for Contemporary Arts, The Milwaukee Art Museum, The Madison Museum of Contemporary Art, The Museum of Contemporary Art Detroit, the Wriston Art Center, the Museum of Wisconsin Art, and the Alice Wilds.
Buie received an emerging artist Mary L. Nohl Fellowship in 2012, the Love of Humanity Award from the Greater Milwaukee Foundation and the prestigious Joan Mitchell Painters & Sculptors Grant in 2015, the 2019 Kresge Artist Fellowship in the Visual Arts, the 2019/2020 Grant Wood Fellowship in Printmaking at the University of Iowa in Iowa City, IA, and the 2020 Fellowship.art award, a top accelerator award/program funded through gener8tor.
Buie’s work has been acquired by major institutions and private collections nationally and her work has been reviewed on Hyperallergic.com and featured on Essay’d.com. Currently, Buie is an Assistant Professor/Section Chair of Printmaking at the College for Creative Studies in Detroit, MI.
Vice President of Internal Affairs
Zach Fitchner is an artist and educator living and working in Charleston, West Virginia where he currently serves as Assistant Professor of Art at West Virginia State University. His creative research involves prints, drawings, photography and installations and explores themes relating to identity.
Cat Snapp is an artist and small business owner. Her studio is based in Everett, Washington, a former mill town about forty-five minutes north of Seattle. She earned an MFA in Printmaking from the University of North Texas and a BFA from the University of Central Florida. Through her business, Cat Snapp Studio, she creates and sells a variety of paper goods from letterpress greeting cards and handbound journals to limited edition prints and art installations. You can find her current work at in-person maker markets, in select retail shops, and online. Her art has exhibited nationally and internationally and is included in several public and private collections such as Bainbridge Island Museum of Art and the Rare Books & Texana Collection at the University of North Texas. Her work can be viewed in the publication 500 Handmade Books, Volume 2, by Lark Crafts. In addition to her studio practice, she serves on the City of Everett’s Cultural Arts Commission and teaches print and book workshops in the community.
Aleksandra Janik, PhD (1971) curator, printmaker and photographer, head of the Studio of Digital and Experimental Printmaking, Vice-Rector for Arts, Research and Foreign Cooperation at the Eugeniusz Geppert Academy of Art and Design in Wroclaw, Poland.
Fields of interests and research subjects: Post-digital Printmaking / Experimental Printmaking / Hybrid Printmaking, aiming at artistic activities and the development of theoretical material; an attempt to present a new classification and re-definition of printmaking; transgression printmaking – photography; formal experiments in combining classical printing techniques with digital printing, with the third dimension – installation-based printmaking, object-oriented printmaking, performative printmaking; formal experiments connected with digital printing on special substrates and attempts to use commercial technology (laser, UV print, lenticular print, hydrographic) in printmaking.
Arron Foster received his Bachelor of Fine Arts degree in Printmaking and Art Education from East Carolina University in Greenville, NC and his Master of Fine Arts degree in Printmaking and Book Arts from the University of Georgia, Athens Georgia. He has exhibited both nationally and internationally and has held academic appointments at the University of Georgia, Athens, Georgia, Kent State University, Kent, Ohio, and Ohio University in Athens, Ohio.
Nicole Geary is an American artist hailing from the green, swampy lands of Florida, where she earned a BFA in printmaking from the University of Florida. She graduated with an MFA in printmaking from the University of South Dakota. She exhibits in juried print and sculpture shows, international residencies, and regularly participates in printmaking conferences. Geary teaches full time at St. Philip’s College, and is also an instructor at Southwest School of Art for printmaking and book arts workshops. She was a resident in the Artist Lab at the Guadalupe Cultural Arts Center, has been awarded a grant from the Artist Foundation of San Antonio, and completed an artist residency and exhibition in the Mojave National Preserve. Geary lives and works in San Antonio, Texas.
Charter State Member-at-Large
Gail Deery is a Professor of Printmaking, Papermaking and Book Arts at the Maryland Institute College of Art (MICA) in Baltimore, Maryland.
She is also Co-Director of Dolphin Press & Print, a collaborative letterpress shop housed in the Printmaking Department at MICA. Her artwork can be found in private and public collections including the Brooklyn Museum of Art, the Boston Museum of Fine Arts, the French Ministry of Culture in Belgium, the New Jersey State Museum, the Jane Voorhees Zimmerli Art Museum, the Newark Public Library and the Corcoran Gallery of Art. She has received two Visual Arts Grants from the New Jersey State Council on the Arts, as well as a Jerome Foundation Fellowship. She has lectured and consulted on print, paper and collaborative projects both internationally and regionally. Over the past 20 years, she has taken students for intensive study and work trips to South Africa, Belgium, Italy and Spain through various initiatives and study programs. Currently she is conducting research on medieval book forms and contemporary applications thereof as well as the larger discourse that has grown up around the codex.
Immediate Past Treasurer
Margot Myers was born in a remote Alaskan Native hospital during Bristol Bay fall fishing in the late 1970s. Participating in this familial seasonal harvest continues to be a pivotal part of her life and studio practice. Formative training in the mental and physical perseverance required to engage in backbreaking manual labor from a young age has shaped her approach to work and life. Her visual development is influenced by her affinity for wilderness landscape and watershed. Evidence of early exposure to natural rhythms and systems can be seen in her work on paper, fibers and installation.Margot’s most recent body of work addresses the controversial use issues surrounding the resource management of the Bristol Bay Watershed in Southwest Alaska.
Myers earned her MFA in Print from New Mexico State University in 2006. She. has taught print techniques and foundations classes to students of all ages, and in various settings: University, Community College, Local School Districts, Museums and other Arts Organizations. In 2015, Myers opened a print shop downtown Bellingham, WA. Runaway Press is the community’s only open studio where amateurs, emerging and professional artists can use this professional studio to develop their own work and learn from national printmakers. Runaway Press hosts demonstrations, workshops and longer classes in print and fibers techniques taught by visiting and local artists. Recent recognition for Margot’s work include the following: GAP grant from Artist Trust of Washington State, Awagami Paper Award (Japan), Selection for a collaborative science/art Climate Change Project for Museum of Northwest Art (LaConner, WA), a temporary installation for PrintAustin (TX) and inclusion of 6 prints at at Berlin Miniprint Exhibit (Germany).
Valerie A. (Wright) Dibble is a practicing artist, university professor, wife, homemaker and mother of three. She earned her BFA from Arizona State University in 1982 in printmaking and photo processes. She earned her MFA from the University of Florida1991 in printmaking and electronic media.
Valerie is currently a Professor of Art and the Coordinator of the Printmaking concentration at Kennesaw State Univeristy. She has been awarded the Distinguished Teacher, Distinguished Scholar and Distinguished Service awards. She has also received a Governor’s Teaching fellowship and numerous grants. She actively serves by holding positions on local, national and international Boards for various art organizations.
Louise Fisher is an Iowa-based printmaker and a 2019 graduate of Arizona State University. She was the 2018 recipient of the SGC International Graduate Fellowship Award. Louise states about her process and artwork that she is “an interdisciplinary artist working in the expanded field of print; using methods of layering, impressing and repetition for its literal and visual enactment of time and the body. By integrating constructed and celestial time, geometric and organic forms, and digital and hand-drawn printmaking processes, I point to the complexities of our current experience with nature. Through an investigative visual language, I aim to rekindle an appreciation for natural light and ask viewers to consider how their rhythms are impacted by this new incessant LED world.”
K. MacNeil (they/them) is a genderqueer artist, educator and curator who was born and raised in the US. They maintain an interdisciplinary practice that encompasses – but is never limited to – print media, video, performance, and drawing. Their work explores and questions contemporary stigmas surrounding trauma, mental health, and memory.
MacNeil’s work has exhibited internationally in Paris, France and Beijing, China, and throughout numerous institutions across the US including the International Print Center New York, PrintAustin, the Western New York Book Arts Center, and CEPA Gallery. Recently, they were awarded the Awagami Paper Award by the Print Center (Philadelphia, PA) as a semi-finalist in their 94th Annual International Competition.
MacNeil holds a BA in Studio Art from the College of Charleston (2011 magna cum laude), and a MFA in Studio Art from the University at Buffalo (2018). They currently reside in the Niagara Region (Ontario & Western New York).
Blake Sanders, our Web Curator, is a printmaking and foundations Instructor at Southeast Missouri State University. He has been an active member of SGCI since 2005 and has participated conference portfolios, exhibitions—both sanctioned and peripheral—and chaired two panels. His work looks “beyond anthropocentrism, emphasizing humans as a part of a global community—residents, not lords of the manor—who should be good neighbors to each other and all of nature.”