CONFLUENCE
2027 SGCI Biennial Conference
CALL FOR PROPOSALS
Criteria for Reviewing Proposals
Talks:
Panels + Discussions
Demonstrations:
Techniques + Materials
Portfolio Exchanges:
Themes + Groups
Outside the Box:
Pop-ups, Mobile, and More
Round 1 Call for Proposals runs June 1 – July 31, 2026
The SGCI Confluence Steering Committee has initiated the conference Open Call for Participation. The Committee is accepting proposals for conference programming like Panels, INKubators, Themed Portfolio Exchanges, Pop-Up Exhibitions, Mobile Events, and Outside the Box Events.
To submit a proposal you must be an SGCI member in good standing. If a proposal is accepted, all organizers and participants must hold an active SGCI membership at the Advocate level or higher to participate in the conference. Please refer to this page for membership tiers. Participants may request an official letter of participation for their records.
Proposals will be reviewed by the Confluence Steering Committee and evaluated according to four criteria: artistic or academic merit, importance to members, diversity, and proposal integrity. See the full criteria and evaluation guidelines for reviewing conference proposals below.
The proposal process includes two rounds. During Round 1, applicants submit proposals to organize conference events. Following the selection of conference event proposals, select formats, including Panels, INKubators, and Themed Portfolio Exchanges, will move into Round 2, when SGCI members may apply to participate in those selected events.
To support broad participation and ensure all voices and perspectives are represented at the conference, event organizers may pre-select up to 50% of their roster. The remaining participants must be selected from the pool of SGCI members who apply through Round 2.
Members may participate in a maximum of one conference event plus one Themed Portfolio Exchange per conference. Members may apply to multiple events, but if selected for more than one, they must choose which event they will participate in.
This policy is intended to make participation opportunities available to the greatest number of members possible.
Timeline
Round 1
June 1, 2026: Round 1 Call for Proposals opens
July 31, 2026: Round 1 Call for Proposals closes
August 15, 2026: Notification of accepted proposals from conference organizers
Round 2
August 31, 2026: Round 2 Call for Proposals opens
October 31, 2026: Round 2 Call for Proposals closes
November 15, 2026: Notification of participation from program leads
Criteria and Evaluation for Reviewing Conference Proposals
Artistic or Academic Merit (45%)
The Steering Committee will assess the proposal’s artistic, pedagogical, and/or intellectual merits. Exceptional proposals are distinguished by their profound artistic excellence and intellectual significance, featuring a lineup of highly skilled artists or distinguished experts in the field.
Importance to Members (25%)
How significant and beneficial is the inclusion of this topic in our conference agenda for our attendees? Members of the Steering Committee gauge the relevance of the presentation to various segments of SGCI’s audience: students, emerging professionals, academics, program directors, publishers, print shops, individual artists, and more. The steering committee will evaluate the originality of the proposal, considering whether similar content has been featured in recent conferences. Their decisions will be guided by the potential impact of the proposed panel, ensuring it offers fresh and vital insights to a substantial portion of our participants.
Diversity (20%)
The Steering Committee members thoroughly assess whether the proposal adequately encompasses artistic, intellectual, regional, political, racial, and cultural diversity, ensuring it resonates with the perspectives presented at the conference. Additionally, they evaluate its responsiveness to the needs of all printmaking communities, striving to foster inclusivity and representation across the spectrum.
Proposal Integrity (10%)
Is the provided information, encompassing the event description, statement of merit, and biographical notes, considered comprehensive and pertinent? The Steering Committee members shall assess not only the proposal’s objectives but also the presenter’s capacity to effectively realize said objectives.
Talks: Panels + Discussions
Panels
Panels are formal conference sessions centered on a topic of interest to print artists, students, collectors, community members, educators, enthusiasts, publishers, scholars, and others engaged with print media. Topics may address artistic practice, collaboration, community engagement, research, or other issues relevant to the SGCI community.
Panels are proposed during the Round 1 Call for Proposals. The person who submits a selected proposal serves as the panel chair and moderator, helping to shape the session, frame the topic, introduce each speaker, and guide the Q&A or discussion at the end.
Individuals interested in speaking on a selected panel may apply during the Round 2 Call for Participants. Panels typically include three to four panelists in addition to the panel chair. SGCI encourages the inclusion of student members and participants representing a range of perspectives, backgrounds, and career stages.
Panels are generally presented in a theater-style format, with panelists seated together at the front of the room or onstage, usually with microphones and access to A/V as available. Panels are scheduled in two-hour time blocks and typically last approximately 90 minutes, allowing time for presentations, discussion, and audience questions.
Panel key details:
- Proposed during Round 1 by July 31
- Chaired by the person who submits the selected proposal
- Panelists apply during Round 2 by October 31
- Typically includes three to four panelists plus the Panel Chair, with no more than six total participants
- SGCI encourages the inclusion of student members and varied perspectives
- Presented in a theater-style format with microphones and A/V as available
- Scheduled in two-hour blocks; typically lasts about 90 minutes
PLEASE NOTE: A Google account is required to sign in and submit a proposal in the linked form
Panel Examples from Previous Conferences
Decolonizing Printmaking: Sketching an Alternate Art World (cloudwhite, Imar Hutchins): Perhaps the most common question on the minds of printmakers (and artists of all kinds) is how they create an economically sustainable practice for themselves. What I call the “art predation industrial complex” has historically worked against us, creating a so-called “art world” that can be likened to a form of colonialism. It is a system which benefits a select few and is in general cruelly extractive of the value created by artists. Simply put, it is a system that is actively anti- artist and in which the best interests of the artist are often hardly even a consideration. Printmakers could and should be at the forefront of deploying our creativity towards creating alternate commercial models, business practices and ways of moving through the world that center us–-rather than buying into the inherently exploitative system that is the status quo.
Mapping Personal Histories / Navigating Political Tides (J. Leigh Garcia, Darice Polo, Ericka Walker, Jaz Graf, Noah Breur): This panel brings together artists who use print to map current political and cultural tides through the lens of personal and familial histories. These artists uncover and examine stories, contextualizing them within broader dialogues concerning ecology, race, gender, and/or immigration status. By drawing upon familial and historical research, they connect the personal and the political. Panelists will share their research into personal, familial, and/or cultural histories, and situate projects within larger political and cultural movements. Chaired by J. Leigh Garcia, this panel will tell the stories of artists working with personal experience, familial histories, and private labor to create artworks that challenge dichotomies of personal/political, private/public, and local/global. Through their research, artists uncover and affirm the often untold stories of people of color, working-class people, immigrants, and the LGBTQ community. This panel will seek to include a diverse history of artists and a diverse selection of panelists to engage this topic and create an inclusive dialogue. The panelists will share their research and weave it into their artistic projects. Contemporary artists who draw upon autobiographical material and familial histories encompass a diverse array of processes and projects, and the panelists’ research will be contextualized within a lineage of artists whose work manifests the idea that the personal is political.
INKubators
INKubators are informal, round-table discussions designed to create space for open conversation, shared inquiry, and exchange among conference participants. They arose from a desire for more flexible, conversational formats within the SGCI conference program.
Each INKubator is organized around a specific topic proposed during the Round 1 Call for Proposals. Selected INKubator organizers serve as moderators, helping to guide the discussion, frame key questions, and encourage participation from those in attendance.
Individuals interested in participating in a selected INKubator may apply during the Round 2 Call for Participation. SGCI encourages organizers to include participants representing a range of perspectives, backgrounds, and career stages.
Unlike panels, INKubators are intended to be participatory rather than presentation-based. While organizers may introduce the topic, provide context, or offer brief prompts, the format should prioritize dialogue among participants.
INKubators are scheduled in two-hour time blocks and typically last approximately 90 minutes, allowing time for introductions, discussion, and informal exchange.
INKubator key details:
- Proposed during Round 1 by July 31
- Organized and moderated by the person who submits the selected proposal
- Contributors can apply during Round 2 by October 31, but all those in attendance in the session can contribute
- Designed as informal, participatory round-table conversations
- Prioritizes dialogue, shared inquiry, and exchange
- Scheduled in two-hour blocks; typically lasts about 90 minutes
PLEASE NOTE: A Google account is required to sign in and submit a proposal in the linked form
INKubator Examples from Previous Conferences
Burden of Proof: Reproduction in the Institution (Taryn McMahon and Hannah March Sanders): Parent and caretaker printmakers share their experiences navigating academia. This session was attended by a number of artists virtually who were unable to travel due to their care taking responsibilities.
Assignment Exchange (Amanda Maicuba): Teaching printmakers shared technical and conceptual project prompts and discussed print pedagogy.
Now What…? (Berel Lutsky): For printmakers who are looking to establish their own print studios and/or community print shops, this discussion had an eclectic mix of print people from recent academic retirees to early career printmakers, to artists who had founded a shop for personal or community use. A productive discussion of acquiring equipment, space, and funding.
Demonstrations
Demonstrations are conference sessions in which an SGCI member presents a print media technique, material, tool, process, or related method. Demos are designed to share practical knowledge, technical approaches, and creative possibilities with conference participants.
Demo proposals are submitted during the Round 1 Call for Proposals. Selected demonstrators may use the presses, equipment, studios, spaces, and materials available at local conference venues. Depending on the nature of the demonstration, organizers may also need to bring their own specialty tools, supplies, matrices, inks, papers, or other materials.
Demonstrations are selected by the local steering committee based on available space, equipment, press access, and scheduling capacity. The committee seeks to create a balanced program that reflects novelty, breadth, skill, beauty, experimentation, and innovation across printmaking practices.
Demos should be clearly planned and feasible within the available conference setting. Proposals should describe the process being demonstrated, the equipment or materials required, and what participants can expect to learn or observe.
Demonstration key details:
- Proposed during Round 1 by July 31
- Focused on a printmaking technique, material, tool, process, or related method
- May use presses, equipment, studios, spaces, and materials available at local conference venues
- Demonstrators may need to bring their own specialty tools, supplies, matrices, inks, papers, or other materials
- Proposals should clearly describe the process being demonstrated and any equipment, material, space, or safety needs
- Selected based on available space, equipment, press access, scheduling capacity, and overall program balance
PLEASE NOTE: A Google account is required to sign in and submit a proposal in the linked form
Demonstration Examples from Previous Conferences
Expanded Vectors: Printmaking with a Vinyl Cutter/Plotter (Myles Dunigan)
Japanese Style Baren Making (Jon Lee): Mokuhanga, the traditional form of Japanese woodblock printing, seems daunting even to seasoned printmakers, as it includes completely new terms, tools and techniques. The tools required are expensive and hard to find, and even when they are found, it can be challenging to determine which to select. In the spirit of “Verified by Proof,” this captivating demonstration aims to empower printmakers by delving into the process of creating a crucial tool of Mokuhanga: the Hon Baren. A Baren is a burnishing tool used to transfer an inked image from a printing block to paper. The printmaker applies even pressure using the Baren to burnish the paper placed on the printing block, allowing it to pick up ink from the block. This demonstration will cover the three fundamental aspects of making a Baren.
DIY Cameras for Printmakers (Neal Cox): Combining low tech photography with photomechanical printmaking processes provides an intriguing avenue for the artist/printmaker who either does not naturally gravitate towards traditionally drawn images, or who would like to supplement such imagery with the syntax of rudimentary photography. Alternatives to the sharp quality of a digital camera include homemade pinhole cameras, the likes of which have been made for centuries, as well as single-element lens cameras. This demonstration will showcase possibilities in designing and constructing high quality, low tech DIY cameras using materials and processes common to book arts and printmaking for the purposes of generating photographic negatives to be used in the printmakers workflow. Participants will gain a general understanding of the process of designing, building, and using a well-crafted aesthetically pleasing DIY camera. Examples of the various phases of construction will be displayed. The demonstration will focus on the fundamental considerations of design, including both optimal function as well as aesthetic value of the camera as a tool and as an object. Instruction will be given regarding the use of the camera to generate negatives to be used in photomechanical processes such as collotype and serigraphy in addition to alternative processes such as cyanotype and gum printing. Examples of such work will be provided.
Themed Portfolio Exchanges
Themed Portfolio Exchanges are print exhibitions organized and curated by and for SGCI members. Rooted in the tradition of print exchange, Themed Portfolio Exchanges bring together groups of artists who each produce an edition of prints in response to a shared theme.
Themed Portfolio proposals are submitted during the Round 1 Call for Proposals. Selected organizers may identify and invite some artists for inclusion, but at least 50% of portfolio participants must be selected through the Round 2 Call for Participation. This process is intended to expand access, create opportunities for more members to participate, and bring a wider range of voices and perspectives into the conference program.
Participants produce an edition of prints equal to the number of portfolio participants, plus one copy for the SGCI Archive and one copy for the conference host institution. The completed editions are collected and collated into full portfolios. Each participant receives a complete portfolio, one complete portfolio is donated to the conference host institution, and one complete portfolio is donated to the SGCI Archive at the Zuckerman Museum of Art at Kennesaw State University.
Themed Portfolios are a significant part of the conference and are displayed in designated conference spaces, host institution spaces, or other venues. Typically, 15 to 20 Themed Portfolio Exchanges are displayed during the conference, depending on available space and conference capacity.
Selected portfolios are organized and curated by the person or team submitting the selected proposal. Portfolio organizers are responsible for coordinating portfolio participants, collecting and collating prints, bringing one complete portfolio to the conference for exhibition, and working with the Confluence Exhibitions Committee to install the portfolio on the designated day. The exhibited portfolio will be retained by the host institution or institutions. Organizers are also responsible for distributing the remaining portfolios to participants.
Portfolios must be completed in advance of the conference. A collated copy must be shipped to the SGCI Archive at least one month before the conference begins. Each portfolio participant is responsible for completing archive accession paperwork and scanning or photographing their print for inclusion in the digitized archive. The organizer will compile all forms and photo documentation in a Google Drive folder provided by the SGCI conference organizers.
Themed Portfolio Exchanges key details:
- Proposed during Round 1 by July 31
- Organized and curated by the person or team submitting the selected proposal
- Participants apply during Round 2 by October 31
- At least 50% of participants must be selected through the Round 2 process
- Participants produce an edition for all portfolio members, plus copies for the SGCI Archive and conference host
- Portfolio organizers coordinate print collection, collation, exhibition, archive materials, and participant distribution
- One complete portfolio must be shipped to the SGCI Archive at least one month before the conference begins
PLEASE NOTE: A Google account is required to sign in and submit a proposal in the linked form
Themed Portfolio Exchange Examples from Previous Conferences
The AI Print Workshop (Dana Potter)
Tactical Communications – Comunicación Táctica (Rae Helms, Francesca Lally)
Salt & Blood of Hidden Kinships (Corinne Teed, Ron Abram)
Landmarking (Alex R.M. Thompson)
Collaging Identity (Dave DiMarchi, Brett Taylor)
Lessons from Our Mother Tongues (Danqi Cai)
Outside the Box: Pop-ups, Mobile Events, and More
Pop-Up Exhibitions
Pop-Up Exhibitions are temporary exhibitions of work by and/or curated by SGCI members. These exhibitions are generally limited to the duration of the conference.
Pop-Up Exhibition proposals are submitted during the Round 1 Call for Proposals. Individuals may apply to exhibit their own work, curate a group exhibition, or organize a project that includes multiple artists. Proposals are selected based on space availability, feasibility, and overall interest.
Exhibition organizers and/or participating artists are responsible for bringing the artwork to the conference, installing the exhibition, and deinstalling the work at the end of the conference. Available space may vary, so flexibility is encouraged. Proposals should be limited to projects that can be installed in two hours or less.
If desired, organizers may open their Pop-Up Exhibition to additional SGCI members through the Round 2 Call for Participation. Artists interested in being considered for a selected Pop-Up Exhibition may then apply during Round 2.
The steering committee will be in touch with each selected organizer in the months leading up to the conference to confirm exhibition space, installation details, and other logistical needs.
Pop-Up Exhibition key details:
- Proposed during Round 1 by July 31
- Round 2 participation may be included at the organizer’s discretion
- May feature work by an individual artist, a curated group, or a collaborative project
- Organizers are responsible for transporting, installing, and deinstalling artwork
- Projects should be installable in two hours or less
- Selected based on space availability, relevance, feasibility, and interest
PLEASE NOTE: A Google account is required to sign in and submit a proposal in the linked form
Mobile Events
Mobile Events are flexible, experimental, and innovative programs designed to take place on the go, in temporary settings, or with a level of ephemerality. These events are especially suited for projects that are adaptable and responsive to the conference environment. These events may include mobile artist talks, PechaKuchas, demo kits, sticker exchanges, zine demos, or other formats that can move through or activate conference spaces.
Mobile Event proposals are submitted during the Round 1 Call for Proposals. Because these events can vary widely, proposals should clearly describe the format, intended audience, location or movement plan, materials, support needs, and overall feasibility.
If desired, organizers may open their Mobile Event to additional SGCI members through the Round 2 Call for Participation, creating opportunities for broader member involvement.
Mobile Event key details:
- Proposed during Round 1 by July 31
- Round 2 participation may be included at the organizer’s discretion
- Designed for flexible, mobile, temporary, or ephemeral formats that encourages adaptability and participant engagement
- May include mobile artist talks, PechaKuchas, demo kits, sticker exchanges, zine demos, or other formats
- Proposals should describe format, location or movement plan, materials, support needs, and feasibility
PLEASE NOTE: A Google account is required to sign in and submit a proposal in the linked form
Outside the Box Events
Outside the Box Events are flexible, experimental programs that move beyond traditional conference formats and gallery settings. These proposals may include performances, interventions, participatory projects, or other creative formats.
These events are especially suited for projects that emphasize community engagement, site-specificity, collaboration, or immersive experiences. Proposals are encouraged to involve public-facing activities, partnerships and collaborations with local residents or organizations, or projects that invite interaction between conference participants and the surrounding community.
Outside the Box Event proposals are submitted during the Round 1 Call for Proposals. If desired, organizers may open their event to additional SGCI members through the Round 2 Call for Participation, creating opportunities for broader member involvement.
Because these events can vary widely in format, location, scale, and technical needs, proposals should clearly describe the activity, intended audience, location, support needs, and feasibility.
Outside the Box key details:
- Proposed during Round 1 by July 31
- Round 2 participation may be included at the organizer’s discretion
- Designed for experimental, nontraditional, or site-responsive formats that may include performances, interventions, participatory projects, or other formats
- Encourages community engagement, collaboration, and immersive experiences
- Proposals should describe location, format, audience, support needs, and feasibility
PLEASE NOTE: A Google account is required to sign in and submit a proposal in the linked form
Outside the Box Examples from Previous Conferences
Paper Boats Flotilla (Mary Sherwood Brock): Participating artists editioned prints that were folded into paper boats for presentation
Print Kite (Koichi Yamamoto): Participating artists printed on Tyvek that was then assembled into large working kites. Koichi Yamamoto led a team of participating artists, volunteers, and conference attendees flying these kites over three days in two different historic locations in San Juan.
Language Guidebook (Savannah Bustillo): Savannah Bustillo handed out guidebooks throughout the San Juan conference.