SGCI: Multiple Layers

March 10-11, 2023, TBD

SGCI’s second virtual event will use a hybrid format with multiple sites! Join us for a truly multi-layered event!

Book with Cyan, Magenta, and Yellow pages. Black outline.

About SGCI Multiple Layers

No pressure! Southern Graphics Council International will embrace a satellite model for 2023.

Rather than one large conference, this experimental model will allow for multiple small events! We are in the process of evaluating submissions and will post content in the coming weeks.

Timeline

Feb 15– Early Bird Price of $20 ends
Feb 16– general admission raises to $25
Mar 10– conference begins! Opening remarks and interviews
Mar 11–conference continues and admission is required

 

Satellites

Join us live and in person at these locations or catch them on Zoom!

Seattle Multiple Layers

Live events will take place at Pratt Fine Art Center – a hub for community printmaking in the Central District in Seattle. These events will be sponsored in part by Seattle Print Arts, a dynamic member-run organization working to promote print arts and community. The satellite conference events will center around a live panel diving into the underfunding and underrepresentation for the Latine/x community in Seattle.

In addition to a panel, we will have a poetry reading, print portfolio display and host a social gathering all at Pratt Fine Art Center’s print studio. There will be multiple educational and academic organizations providing recorded content in conjunction with gallery shows and open studios during that weekend.

Capacity 100

Zea Mays Printmaking

Flocculating Acrylics in the Screen Printing Studio

Learn a simple method of keeping harmful acrylics generated in the art studio out of the waste water stream. In this interactive, hybrid presentation Zea Mays Printmaking artists will share about their internship experience researching, testing and implementing a system for reducing acrylic particles in their screen printing studio’s wastewater and share techniques participants can use in their home, school or community studios. This process is relevant to any artists working with acrylic mediums, including screenprinters, block printers, and painters. The presentation will consist of a livestream demonstration of the flocculation process, a video on how to make a flocculation bucket, a livestream discussion of adapting the system to both a community studio and a home studio, followed by a live Q&A. This hybrid form allows for an interactive conversation both virtually and in person, and all participants will leave with comprehensive written information, instructions, and links to in-depth video content detailing the process.

Do it Yourself - Auburn University

The Department of Art and Art History at Auburn University is pleased to host events in association with SGCI’ “Multiple Layers.” This satellite location of the conference will focus on preparing artists to use readily available materials and home-brew processes to create prints regardless of access to fancy equipment.
This event will support the East Alabama Community.
Host/Announcer:
Iney Kulick

PRINTMAKERS PLAYGROUND - Multiple Layers Miami

Miami, FL – The Printmakers Playground, an SGCI Multiple Layers Conference Event, will take place on March 10th and 11th at IS-Projects in Miami, Florida. Joseph Velasquez of Florida Atlantic University organized the event with participation from Florida International University, Florida State College Jacksonville, University of North Florida, and Florida State University. This will take place in Miami at the incredible printmaking studio, ISprojects. The studio has many presses for indoor demonstrations and a large fenced in parking lot that will be used for our Printmakers Playground carnival of ink!

Kennesaw State University - Printmaking in Dreamland

Join us on site at Kennesaw State University’s printmaking department for some serious printmaking fun! Saturday March 18 from 10am – 4pm

On site participants will include demonstrations and pop-up shops by:

NOOSH studio (featuring KSU alum Christopher Neuenschwander) http://www.nooshstudios.com

Demonstrations by KSU Print Club

­Ongoing virtual presentation in the studio that will also be available online:

Cynthia Lollis and Daniela Deeg’s international book making presentation.

And much more!!

 

Western Illinois University - Within the parameters of printmaking processes

Three 45 minute demos and open portfolio

Pizza, refreshments and discussion 

Susan Czechowski
Silkscreen technique called “scratch away”

Molly Borth + Grace Lessen
Flocking, glitter and other non-traditional fun

Claire White
How to Marble a Litho Stone

Boston, MA SMFA at Tufts Iron Print Iron Print

Muskat Studio (Carolyn Muskat)

Students form a four-person teams and participate in an “Iron Print” competition to create an edition of 10 prints. An orientation occurs one week before the event. During that week, each team can plan their approach to making their image.

On the day of the event, within a set time limit, the teams compete against each other to create their image. It must combine lithography, intaglio, relief, and silkscreen, and incorporate a bag of mystery ingredients as well.

A panel of professional artists judge each teams’ edition based on the quality of their image, the quality of their edition printing, their team work, and their sheer creativity. Prizes are awarded at the end of the day.

Pre-Recorded Events

Demo Excavated Screen Print - Emily Orzech

This demonstration will cover the process of creating an excavated screenprint, originally developed by Dennis O’Neil, which involves building up hard layers of ink and then sanding away the surface to reveal layers below. Drawn, painted, or cyanotype layers can be sandwiched between the screenprinted ones. The video will provide a step-by-step demonstration of the process from creating a half tone image in Photoshop to printing and sanding. It will be accompanied by a PDF. Over the course of the demonstration, I will discuss my use of the process to juxtapose personal experience with medical imagery in a series about cancer caregiving and in a current collaborative project about LGBTQ+reproductive healthcare. I will discuss how this process offers potential for combining gestural and digital marks and invites explorations of time and motion. Because of the time-consuming nature of the process, the recorded format offers a rare opportunity to share this demonstration.

Demo Papermaking - J. Leigh Garcia

Interested in incorporating papermaking into your printmaking practice? This demonstration will walk you through creating your own paper pulp at home, pulling and drying sheets, printing on handmade paper, and even how to embed prints into new sheets of paper! This demonstration will focus on papermaking processes that you can do easily at home and on a budget using easily accessible items such as a kitchen blender to make pulp, old frames to make mould and deckles, and windows to dry your paper flat on.

Demo CNC Router on Plates - Lari Gibbons

This pre-recorded demonstration shows how to use CNC routers to scribe and engrave plates, showcasing an innovative approach to printmaking. Topics include image planning, file prep, materials, engraving, etching, and printing. The demo will start with an accessible, hand-built CNC router in the artist’s studio and show how the process translates to professional and institutional settings. Resources include a lesson that can be adapted to diverse educational settings. Low-toxicity printmaking approaches and materials will be emphasized.

Demo Using the Multiple to Create Wallpaper - Janet Ballweg

This pre-recorded session will provide a step-by-step explanation of a wallpaper project that I designed for my screenprint class. The project requires students to design a repeat pattern unit, screenprint a large edition using multiple color layers, and use the edition of prints to create a panel of wallpaper. During this session, I will explain my goals and expectations and outline the thematic approach used for the wallpaper project. Several recommendations will be offered for readings to accompany the project. I will also demonstrate how to design a repeat pattern by hand and in Photoshop, including tips on how to create successful designs and avoid patterns that don’t line up, as well as strategies for trimming the prints, aligning, and attaching the units to the wall. To illustrate the variety of possible solutions to the project, numerous examples of wallpapers printed by students will be shown.

DALL-E 2 Print Workshop - Dana Potter

DALL-E 2 Print Workshop

 The DALL-E 2 Print Workshop will examine the relationship between printmaking and Artificial Intelligence.

 We will examine:

  • Discuss whether AI image-generator are able to capture the nuance and detail of mark-making specific to printmaking
  • Review additional AI image tools (Stable Diffusion, Dataform, Playground AI)

We will demonstrate:

  • How to use DALL-E 2’s basic and advanced tools for editing, variations, and language-specific tips
  • Attempts to gear the system towards print-like imagery

AI experts claim that DALL-E 2 is getting “too close to human-level visual creativity.” (1) However, in all the DALL-E 2 generated artworks out there from the DALL-E team, from everyday users or artistic collaborations (such as the 2022 exhibition “Artificial Imagination” at Bitforms Gallery (2)), these images lack a sensitivity to graphic detail which draws many artists to printmaking.

 If, for example, you asked DALL-E 2 to render in the style of a woodcut, the system understands that many woodcuts are printed in stark black ink on whitish paper. However, upon a close inspection, DALL-E 2’s marks are more of a charcoal drawing or a pencil-rubbing. It does not capture how a blade removes the surface of linoleum and does not recreate a rhythmic spacing of marks, as in “Sharecropper” by Elizabeth Catlett. While DALL-E 2 easily formulates figures using abstract mark-making and composition, it does not express human experience. The mark-making does not express urgency or show sharp pain as embodied in “The Mothers” by Käthe Kollwitz.

 

We will discuss AI’s relationship to the history and theory of art-making. There are many historic occasions on which mechanical reproduction caused a deep existential crisis for artists and creators alike, such as the Arts & Crafts renaissance of woodcut in the early 1900s as a direct reaction to mass-produced lithographic advertisements. We will also explore theories of what makes analog vs. digital art good, meaningful, or beautiful through art-theory and digital journalism such as “The Future Is Analog” by David Sax.

 We will challenge DALL-E 2 to play the role of the master printer in the digital realm, utilizing our best language skills to publish a print-like digital image.

 

  1. Romero, Alberto. “Dall·E 2 Will Disrupt Art Deeper than Photography Did.” The Algorithmic Bridge, Medium, https://betterprogramming.pub/dall-e-2-will-disrupt-art-deeper-than-photography-did-b900b52c1ea2.
  2. Benzine, Vittoria. “In Pictures: Dall-e Makes Its Gallery Debut in a Show Where All the Works Were Created with an Assist from A.I.” Artnet News, 14 Nov. 2022, https://news.artnet.com/art-world/in-pictures-dall-e-makes-its-gallery-debut-in-a-show-where-all-the-works-were-created-with-an-assist-from-a-i-2208441.

Left: “Die Mütter” by Käthe Kollwitz, woodcut 1921 Right: “Die Mütter” by DALL-E 2, AI woodcut 2022

Panel Trailblazers: Cultural Perspectives for Change within Print Media - Gino Castellanos, Joseph Velasquez, Althea Murphy-Price, Carlos Barberena

“Trailblazers: Cultural Perspectives for Change within Print Media”

This panel seeks to bring together people from different cultural backgrounds to advocate for their identities, voices, and communities as artists working with print media. The panel seeks to address the following questions:

How does an artist effectively identify their unique strengths of their different heritages and translate them into a meaningful practice in print media?

What is the role of culturally specific artworks to push positive change in our respective communities, and to serve as an example for contemporary society in general?

By studying different cultural backgrounds, we stand to learn the varied ways in which people in history have approached problem solving in creating imagery that can inspire and be relatable, even if the audience observing the work may have a different perspective.

The members of the panels are:
Gino Castellanos
Joseph Velasquez
Althea Murphy-Price
Carlos Barberena

Panel Layers of Accessibility - Brett Taylor, Becci Spruill, Alexey Lazarev, Kit MacNeil, Kat Chudy, & Ross Mazzupappa

Layers of Accessibility

This panel will consider how printmaking practices for Artists/ Researchers/ Teachers necessitate transitions from traditional studio’s notions into more accessible and inclusive standards of printmaking. This panel will explore diverse conceptualizations of accessible printmaking through the lenses of printmaking practitioners that have made print more accessible for themselves and others. These adaptations consider an expanse of inclusions and innovations to traditional print practices, exhibition formats, community organization, resource sharing, and/or teaching methods. The artists, printmakers, and educators on this panel explore how to transition conceptual accommodations into more accessible realities of printmaking.

Panelists:

Brett Taylor, Becci Spruill,  Alexey Lazarev, Kit MacNeil, Kat Chudy, & Ross Mazzupappa

Panel The Pursuit of Print in an Online World - Jo Stockham, Liberty Quinn, Chaoming Zhang, Anna Marris, Katriona Nzegwu

This is a pre-recorded discussion with contributions from staff, students and graduates of the Print MA at the Royal College of Art London about the nature of print practices in a time of digital immersion. We will enable an insight into the philosophies and sites of our work and the ways it gets distributed and shared. We will include clips of students talking about their work in the studios. I will be in discussion with Dr Meg Rahaim, Dr Gareth Polmeer on the way the digital has shaped how we think about print and address the importance of older pre-internet forms of distribution and reproduction in continuing debates.

Professor Jo Stockham Royal College of Art Battersea London.

Students would include; Liberty Quinn, Chaoming Zhang, Anna Marris, Katriona Nzegwu

Panel Expansive Layers - Anita Jung, Rajesh Pullarwar, Kavita Shah and Rachel Singel

Working across national borders has been a leading influence in the direction of many of our careers as artists, educators, and mentors. This proposal brings together four such artists, two from the US and two from India, who have initiated international exchanges in a variety of traditional and innovative ways.

Through attending international conferences, organizing portfolio exchanges, and establishing artist residencies relationships have been created and friendships forged. The four artists on this panel will discuss their experiences of forming international relationships, and how these events have affected them and led to greater commitments regarding building greater cultural understanding and exchange all through the common ground and language of printmaking. These artists facilitate cultural exchange through art, resulting in mutually beneficial relationships that explore many individual perspectives and experiences.

The four artists on this panel will discuss the ventures that have expanded their connections and knowledge of printmaking techniques as well as the exhibition of their art and that of many other artists. The panelists will also consider and brainstorm with one another about the possibilities for future expansion and greater inclusion that others can readily adopt. The ventures these panelists have been pursuing to build and be part of an active community that freely crosses borders and leans into conversations about art as an important, necessary, and reciprocally valuable aspect of a beautifully diverse global public underscore the power of printmaking as a fine art reproducible and interventionist medium.

Participants:
Anita Jung
Rajesh Pullarwar
Kavita Shah
Rachel Singel

Anita Jung, is a professor at the University of Iowa. Over a thirty-year career, her artwork has been curated into solo, group and juried exhibitions throughout the world. She received a Bachelor of Fine Arts in painting and drawing from Arizona State University and the Master of Fine Arts from the University of Wisconsin-Madison in graphics. She has directed numerous study-abroad programs to the Czech Republic, France, Italy, and India. She recently spent six-months as a Fulbright Scholar to India in 2022. She fully utilizes being an artist to practice grace and engage the world.

Rajesh Pullarwar, is the founder-director of the International Print Exchange Program which facilitates an exchange of print works and exhibitions by artists from around the world and is in its tenth year. Pullarwar earned his Bachelor of Fine Arts and a Master of Fine Arts degree from the Sir J.J. School of Art in Mumbai, India. His work has been exhibited in national and international art shows as well as Biennales. He has presented solo exhibitions at Chatterjee & Lal, ART India Gallery, and Phillips Contemporary, in Mumbai, as well as group exhibitions at Tao Art Gallery, Mumbai and BCA Gallery, Milan. The Pierre, located in New York City, has editioned prints of his works on permanent display.

Kavita Shah, is the director of the Chhaap Foundation in Vadodara, India. Founded in 1999, Chhaap is of one of the first community-based printmaking studios in Vadodara. Her masters in Printmaking was awarded from the Faculty of Fine Arts, Maharaja SayajiRao University in 1985. She has worked in the printmaking studios of Kanoria Art Center, Ahmedabad; Bharat Bhavan, Bhopal; in addition to working with Robert Blackburn in his Print Making Workshop, NYC; and the historical Atelier Couriere et Frelaut in Paris. Under the Chhaap umbrella, she organized many international exhibitions, workshops, lectures, exchange portfolios, artist-in-residency programs, and outreach projects to make printmaking popular and spread awareness for limited edition original prints within India.

Rachel Singel, is an Associate Professor at the University of Louisville. She received a Bachelor of Arts from the University of Virginia and a Master of Fine Arts in Printmaking from the University of Iowa. Singel has participated in residencies at the Penland School of Crafts, the Venice Printmaking Studio, Internazionale di Grafica Venezia, Art Print Residence in Barcelona, Spain, Wharepuke Print Studios in New Zealand, and Proyecto’ace, an Artist-in-Residence Program in Buenos Aires, Argentina. She has studied non-toxic printmaking at the Grafisk Eksperimentarium studio in Andalusia and will continue her research at AGA LAB in Amsterdam, Netherlands in April 2023. Her work has been exhibited nationally and internationally and represented in private, public and museum collections.

Performance Fine Print: Into the Void (Part II) - Henry Gepfer and K. MacNeil

“Fine Print” is an on-going curatorial project by artists Henry Gepfer and K. MacNeil. We are deeply interested in the moments where print intersects with performance, action, music, happenings, comedy, drama, video, new media, and all the exciting betweens and beyonds. Our goal is to create a recurring space for print and adjacent artists to try new things and push themselves into unknown and experimental territories, paving the way for future generations of performative printmakers.

For this iteration of “Fine Print,” we will be inviting a selection of artists and performers to share pre-recorded video and sound-based work that blurs the line between print-media and performance art. This showcase will be followed by a round-table discussion – chaired by Gepfer and MacNeil – contextualizing the work presented within the broader field of contemporary printmaking and performance art. 

Exhibting Artists: Jacq Garcia and Josh Graupera

Pricing &  Registration

Mulitple Layers is two days of fun!

Our Sponsors

Would you like to partner with SGCI for our hybrid conference? Sponsors will be given a 30 second spot during the conference along with advertising on our website and social media. Reach out to help@sgcinternational.org

$100 for an image displayed during the event

-300 dpi JPEG 1333 pixels on the smallest side

-SGCI will read a written statement

$200 for a recorded spot

-File must be ready to play when sent to SGCI

-30 seconds to two minutes in length

$250 for a logo on the conference virtual platform

-This image will be displayed during events on Saturday

The size of the full sponsor logo area is 870px wide x 155px high

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