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The 2020 Screenprint Biennial seeks to showcase a range of screenprint-based art applications, from framed editioned prints to installation, sculpture, video, ephemera, and posters. This exhibition will in no way seek to act as a survey or “who’s-who” of screenprinting, but will assemble an exhibition that is consistent in highlighting artists who utilize adventurous, relevant, and passionate takes on the screenprinted medium. The Screenprint Biennial is announcing its open call for submissions. Submissions involving video, performance, sculpture, social practice, alternative substrates and processes, and collaboration are encouraged.
The Biennial Exhibit is scheduled to premiere at Middle Tennessee State University located in Murfreesboro, a community 30 miles south of Nashville, traveling to Buffalo, NY where it will be hosted by the University at Buffalo and Mirabo Press. Each biennial location will host an accompanying printmaking symposium.
Deadline for email submissions: April 18, 2020 at 11:59PM EST
SUBMISSION: (THERE IS NO ENTRY FEE FOR SUBMITTING.)
-Artists may submit up to three JPEG images or one video.
-Artist bio of 150 words
File Size requirements:
Since images selected may be reproduced in the exhibition catalog, please upload hi res images, approximately 6”x6” at 300ppi. There is a limit of 400mb per upload.
Artists will be informed via submittable email regarding their acceptance into the show Accepted work may be refused if it does not conform to the entered image. Absolutely NO substitutions of accepted works will be allowed. All accepted work must remain in the gallery for the duration of the exhibition.
Accepted artwork must be suitable for formal gallery presentation as well as the rigors of packaged shipping. Special display instructions must be explicitly stated and included in shipping. 2-D works on paper must be framed, wired, and ready to hang. A limited amount of video projection equipment will be available. Any sculptural or installation-based work must have clear instructions and guidelines.
Artists are responsible for shipping to and from the Screenprint Biennial.
Shipped work must arrive in a reusable container or crate. No mailing tubes. A computer-generated return label for return of work MUST be enclosed. NO EXCEPTIONS. Pre-paid shipping arrangements must be made through FedEx. NO U.S. POSTAL SERVICE OR COD RETURNS. DO NOT SEND CASH, CHECK, STAMPS, OR CREDIT CARD INFORMATION FOR RETURN OF WORK. Please include a prepaid return-shipping label where it can be easily located. Works sent without prepaid return labels WILL NOT BE HUNG.
Artists selected for the biennial will be given exact shipping instructions at the time of notification.
Artists are responsible for the insurance of work during shipping. The Screenprint Biennial is not liable for any damage or loss of artwork during transit to and from the galleries. Middle Tennessee University, University at Buffalo, and Mirabo Press will all provide respective insurance within their galleries.
The biennial does not sell works directly, but can facilitate sales of works by connecting potential buyers to artists.
February 17: open call begins
April 18: Deadline submissions
April 19-May 2nd: Jurying process
May 3: Selections announced
May 15: 2020: Selected artists must send high-res images of work for
September 10, 2020: Selected works must arrive at Middle Tennessee University
September 19, 2020: Opening Reception/symposium at Middle Tennessee University
Oct 10, 2020: Biennial South closes
November 7, 2020: Biennial North Opens/Symposium in Buffalo, NY
December 18, 2020: Biennial North Closes
January 2021: Artwork shipped back to artists
About the Jurors:
Working primarily in the mediums lithography, screen printing and sculpture, artist Althea Murphy-Price has been recognized for her nonconventional approach to the traditions of print.
Murphy-Price has been exhibited in museums and galleries throughout North America and abroad. Solo and small group exhibits include the Tennessee Arts Commission (Nashville, TN), The Union for Contemporary Art (Omaha, NE), The Knoxville Museum of Art (Knoxville, TN), The Arnoff Center for the Arts (Cincinnati, OH), The Print Center, (Philadelphia, PA;, Woman Made Gallery (Chicago IL), The Artist’s Collective (Houston, TX) and California College of the Arts, (Oakland, CA). International exhibited cities include Shanghai, China; Tokyo, Japan; and Tidaholm, Sweden, Venice, Italy; and Santander, Spain.
Murphy-Price’s work has been included in the publications of Art Papers Magazine, CAA Reviews, Contemporary Impressions Journal, Art in Print, MAPC Journal, and the UK publication Printmaking Today and text books, Printmaking: A Complete Guide to Materials and Process., and Printmakers Today. Additionally she has held residencies at the Frank Llyod Wright School, University of Hawaii, Hilo, The Vermont Studio Center, The Venice Printmaking Studio, and the Scuola Internationale di Graphica. She has lectured at multiple institutions including Vanderbilt University, Wellesley College, Boston University, University of Nebraska, Lincoln, and the Maryland Institute College of Art (MICA).
Murphy-Price received a B.A. from Spelman College, an M.A. from Purdue University and an M.F.A. from Tyler School of Art, Temple University. Born in San Jose, CA and living in Knoxville, Tennessee, Murphy-Price teaches printmaking as Associate Profess of Art at the University of Tennessee, Knoxville.
Christina Weyl received her BA from Georgetown University (2005) and completed her masters and doctorate in Art History at Rutgers University (2012, 2015). Her new book, The Women of Atelier 17: Modernist Printmaking in Midcentury New York, follows eight women, who worked at the avant-garde printmaking workshop Atelier 17 in New York between 1940 and 1955. The book reveals how Atelier 17 operated as an uncommonly egalitarian laboratory for revolutionizing print technique, style, and scale. It facilitated women artists’ engagement with modernist styles, providing a forum for extraordinary achievements that shaped postwar sculpture, fiber art, neo-Dadaism, and the Pattern and Decoration movement. Her research has been supported by the Metropolitan Museum, Getty Foundation, Mellon Foundation, and other institutional grants. She has published in Art in Print, Print Quarterly, The Women’s Art Journal and Archives of American Art Journal and contributed to several anthologies and exhibition catalogues. From 2014-2018, she served as Co-President of the Association of Print Scholars, a non-profit professional organization she co-founded in 2014. Prior to her graduate studies, she worked for a gallery representing the publications of the Los Angeles–based artists’ workshop Gemini G.E.L.
Nathan Meltz uses art to comment on the infiltration of technology into every facet of life, from politics and food, to family and war. His solo exhibitions include Southern Illinois University’s Vergette Gallery, GRIDSPACE (NYC), the University of Florida – Jacksonville’s Andrew Brest Gallery, and Noise Gallery (OH). Group exhibitions include the International Print Center New York, the Trois-Rivières International Printmaking Biennial, Canada, and the Museum of Modern Art in Rio De Janiero, Brazil. He has received juror awards from the Louisiana International Printmaking Exhibition, the Political Impressions exhibition at the Rochester Institute of Technology, the International Miniature Print Exhibition at Manhattan Graphics, the Printworks Award from Artists Image Resource, Pittsburgh PA, and the Prix de Print award from Art in Print Magazine. Meltz is a Senior Lecturer in the Department of the Arts at the Rensselaer Polytechnic Institute in Troy, New York, and is the founder of the Screenprint Biennial.