Printmaking

Filtering by: Printmaking

Aug
13
to Aug 19

Written On/In The Print

PRINT 643 001, 1 week, 1 credit hour, Lab Fee $50

This print course focuses on text as it relates to the print image and vice versa. Students will work between sessions of woodcut printmaking and sessions of writing that speak to the images they are carving. We will look at the work of artists such as Glen Ligon, Lesley Dill, and Christopher Wool, who use the relationship between text and image in their work. Group technical demonstrations and individual guidance will be part of each session. Within the span of the course, all participants will have combinations of prints and texts in both large and small formats. This course is for beginning through advanced printmakers and/or writers.


Balance, woodcut prints on Japanese paper, 52 - 72" high x 28", 2016.

Balance, woodcut prints on Japanese paper, 52 - 72" high x 28", 2016.

Faculty

Jeanine Coupe Ryding’s work has been shown throughout the U.S. and abroad and her prints and artist books are in museum collections. She focuses primarily on woodcut prints, etchings, artist’s books, drawing and collage and has founded both Shadow Press and Press 928 in Evanston, Illinois for artists books publishing. She received her BA from The University of Iowa and her MFA from Universitat der Kunste, Berlin, Germany. She has received various awards and residencies including Illinois Arts Council Award, Arts Midwest, Frans Masereel Center, Belgium and Anchor Graphics, Chicago. Her work is represented by: Atrium Gallery in St. Louis, Olson Larsen Gallery in Des Moines and August Art in London. She has been teaching at the School of the Art Institute of Chicago since 1991.

View Event →
Jul
30
to Aug 12

Lithography: Stone and Photolithography

PRINT 637 001, July 30-August 12, 2 weeks, 3 credit hours, $100 Lab Fee

PRINT 635 001, July 30-August 5, 1 week, 1 credit hour, $50 Lab Fee

PRINT 635 002, August 6-12, 1 week, 1 credit hour, $50 Lab Fee

This class will be offered in a two-week sequence and give the beginner and/or more advanced artist the chance to learn the traditional lithographic technique in week one. Week two we will introduce the photo plate using analog methods or digitally manipulated photo positives. Emphasis will be placed on understanding how to make a lithograph both in editions and as unique variants. Demonstrations will be given for the preparation of matrices, color mixing and modifying inks as necessary, as well as more advanced drawing techniques as required by participants’ needs and interests. Historical examples from the collection of The Art Institute of Chicago will be discussed in presentations aimed at enhancing participants’ aesthetic point of view.


Faculty

Mark Pascale serves as an Adjunct Professor in Printmedia at SAIC and the Janet and Craig Duchossois Curator of Prints and Drawings, at the Art Institute of Chicago. He holds a BA from Southern Connecticut State College and an MFA from Ohio State University. He has organized exhibitions at the Art Institute of Chicago and Intuit: The Center for Intuitive and Outsider Art and produced publications including Martin Puryear: Multiple Dimensions (forthcoming), Contemporary Drawings from the Irving Stenn, Jr. Collection; Jasper Johns: Gray; and The Picture Tells the Story: The Drawings of Joseph E. Yoakum.

View Event →
Jul
16
to Jul 29

Relief: Print Anywhere

PRINT 647 001, 2 weeks, 3 credit hours, Lab Fee $100

Relief printing can be done anywhere with minimal equipment and materials making it ideal (and safe) for the artist who wishes to pursue printmaking in a DIY framework. The newest generation of inks for relief can be used without solvents and other harmful materials. This two-week course will cover the basics of relief/block printmaking using a variety of materials including wood and linoleum, printed both by hand and with the assistance of a press. Individual exploration will be encouraged through one-on-one instruction and group critiques. A variety of approaches to image making may include found materials, multi-block and reduction color, chine colle, digital inkjet transfers and fabric printing. Collaboration will be encouraged.


Untitled, Woodcut/relief, 2015

Untitled, Woodcut/relief, 2015

Faculty

Danny Miller is an artist and musician living and working in Chicago, IL. Utilizing woodblock, lithographic printing and drawing, he conjures works inspired by science fiction pulp covers, Victorian engravings, advertisements, comic books and music. Miller has taught at Ohio State University, UW-Madison, SAIC and the Ox-Bow School of Art and has been the Printmedia Department Manager at SAIC for 28 years. He received his MFA from the University of Wisconsin-Madison and has worked in professional print shops including Landfall Press, Normal Editions Workshop and Four Brothers Press, in addition to playing and teaching traditional fiddle and banjo music at the Old Town School of Folk Music in Chicago.

Search and Annoy  , woodblock, screenprint, monotype, 16” x 22”, 2014

Search and Annoy, woodblock, screenprint, monotype, 16” x 22”, 2014

Oli Watt received his BFA from the University of Florida and his MFA from SAIC. He currently serves as Assistant Professor at the School of the Art Institute of Chicago where he teaches in the Printmedia Department. Oli has shown his work nationally and internationally including exhibitions at the Museum of Contemporary Art in Chicago, Brooklyn Museum of Art, Spencer Brownstone Gallery in NYC, the Urban Institute of Contemporary Art in Grand Rapids, MI, La Band Art Gallery in Los Angeles and Rocket Gallery in London. His work has been discussed in numerous publications including Art on Paper, Art US, the New Art Examiner, Concrete Comedy and Contemporary American Printmakers. He currently runs free range, a studio and exhibition space on Chicago’s Northwest Side.

View Event →
Jul
9
to Jul 15

Monotype

PRINT 609 001, 1 week, 1 credit hour, Lab Fee $50

This course will present a variety of oil and water-based monotype techniques including chine colle, block printing, painted and photographic image transfers, and over-printing. Monotype is a versatile process incorporating chance and improvisation, and can be performed in the landscape as well as in the studio. Painters as well as printmakers will find this a dynamic new medium that is perfect for the home studio.


f3mme_arki+ecxturez (60% scale)  , screenprint and collage on paper in collaboration with Dan Luedtke, 3’ x 5’, 2012

f3mme_arki+ecxturez (60% scale), screenprint and collage on paper in collaboration with Dan Luedtke, 3’ x 5’, 2012

Faculty

Aay Preston-Myint is an artist, printmaker, and educator based in Chicago. His practice employs both visual and collaborative strategies to investigate memory and kinship, often within the specific context of queer community and history. In addition to his own work in interdisciplinary media, he is a founder of No Coast, an artist partnership that prints and distributes affordable contemporary artwork, serves as a DJ and organizer for Chances Dances, a party that supports and showcases the work of queer artists in Chicago, and is editor-in-chief of an online and print journal called Monsters and Dust. He holds an MFA from the University of Illinois at Chicago and a BFA from SAIC, where he currently teaches.

 

View Event →
Jul
2
to Jul 8

Screenprinting: Marks, Stencils, & Exposures

PRINT 611 001, 1 week, 1 credit hour, Lab Fee $50

In this course, students will acquire technical proficiency in various hand and photographic stencil printing methods. Individual exploration and development in the medium will be encouraged and supported by individual instruction and group critiques. Emphasis will be placed on unique prints created by layering, stencil repositioning, and combining hand mark-making with photographic and found imagery. Collaboration will be encouraged.


Green River Observations 23. Screenprint monotype. 12.5in x 19in. 2015

Green River Observations 23. Screenprint monotype. 12.5in x 19in. 2015

Faculty

Steven Rainey is the exhibitions preparator at the Urban Institute for Contemporary Arts in Grand Rapids, Michigan and is the co-owner/operator of Dinderbeck Studios, a community printshop and learning center. Steven completed his MFA in printmaking at Kendall College of Art and Design in 2014, he exhibits his work nationally and has participated in a variety of residencies that include The Frans Masereel Centrum in Kasterlee, Belgium and Cabin-Time in Green River, Utah.

 

View Event →
Jun
25
to Jul 1

Cut, Copy, Paste

PRINT 641 001, 1 week, 1 credit hour, Lab Fee $50

This experimental course offers students an opportunity to explore appropriation as a strategy for art making. Students will discuss and transform everyday printed matter and literature in the development of poetry and art works. A range of poetic forms will be introduced in relation to various printmaking techniques including: monoprint, pronto plate and transfer/copier methods. Magazines, books and other printed matter will serve as source material. This one week course is a workshop for different types of making which accesses the interconnectedness of image and language. Students will tap into the generative nature of studio practice cultivated from everyday resources.


Talk About Beautiful Things #1  , ink on paper, 2013

Talk About Beautiful Things #1, ink on paper, 2013

Faculty

Ayanah Moor is an interdisciplinary artist whose creative tools include printmedia, performance, drawing and video. She has been awarded artist residencies at Hyde Park Art Center in Chicago; Proyecto ‘Ace in Buenos Aires, Argentina; Auckland Print Studio in New Zealand and the Vermont Studio Center. Moor’s work has been addressed in books like Troubling Vision: Performance, Visuality and Blackness and What is Contemporary Art? published by University of Chicago Press. She completed her BFA at Virginia Commonwealth University and MFA at Tyler School of Art. Ayanah Moor is Associate Professor in Printmedia at SAIC.

We Wear the Mask III  , collage on handmade paper 2014  , Photo credit: Stephen Flemister

We Wear the Mask III, collage on handmade paper 2014, Photo credit: Stephen Flemister

Krista Franklin is an interdisciplinary artist whose work floats between the literary and the visual. Her practice engages a diverse range of artistic mediums from collage, hand papermaking, print, poetry and performance, installation, artist books and sound. She is the recipient of the Propeller Fund, and has held residencies at A Studio in the Woods, Cave Canem, and the University of Chicago’s Arts + Public Life Initiative. Her work has been published in Black Camera, Copper Nickel, Callaloo, Vinyl, BOMB Magazine, Encyclopedia, Vol. F-­‐K. Her chapbook of poems Study of Love & Black Body was published in 2012 (Willow Books).

 

 

View Event →
Jun
18
to Jun 24

Image and Word

PRINT 619 001, 1 week, 1 credit hour, Lab Fee $50

Students enrolled in Image and Word explore several woodcut, hand printing, typesetting and letterpress techniques. The class emphasizes the sequential and narrative properties of the relief printing process. Through presentations and critiques, the course of study examine how the physical qualities of the paper,image, text and binding can influence narration, pacing, rhythm, and meaning.The class also investigates the role of traditional printing in contemporary image making. Studio projects may include the creation and editioning of broadsides, sets of prints, or pamphlets.

 

Ilssa It’s About Time  , installation, 2014

Ilssa It’s About Time, installation, 2014

Faculty

Bridget Elmer is an artist living in Saint Petersburg, Florida. She works as Coordinator of the Letterpress and Book Arts Center at Ringling College of Art and Design, where she also teaches. Bridget is the co-founder of Impractical Labor in Service of the Speculative Arts (ILSSA), co-owner of The Southern Letterpress, and founding member of Print St. Pete Community Letterpress. She received her MFA in the Book Arts from the University of Alabama and has taught at Penland School of Crafts, Florida State University, and Colorado College. Her work can be found in the collections of institutions including Yale University, Tate Britain, UCLA, and the Brooklyn Museum.

View Event →
Jun
18
to Jul 1

Great Lakes Watershed: Art, Ecology, and Community

June 18-July 1, 2 weeks, 3 credit hours

In this integrated seminar/workshop/studio course, students will think about the Great Lakes as a cultural and ecological phenomena that link artists with their communities. Students will explore the ecologies, cultural histories, and lifespan of the Great Lakes to create projects that directly engage a ‘long history’ of the region. Cities situated close to the lakes (Detroit, Chicago, Toronto, Milwaukee) will be possible sites of inquiry in addition to rural and Indigenous territories.  Discussion and presentations will include Indigenous and settler-colonial histories, the legacies of industrialization and de-industrialization, and international borders and commerce, among others. Throughout the course students will explore these dynamic relationships in both individual and collaborative projects. Projects will utilize serigraphy and other low tech printmaking techniques to create artists’ books, zines, mapmaking, and site-specific projects. Collaborative and socially engaged models will be at the core of this experience.

 

Faculty

Dylan Miner is a Wiisaakodewinini (Métis) artist, activist, and scholar. He is currently Director of American Indian and Indigenous Studies and Associate Professor at Michigan State University. Miner is also a founding member of the Justseeds artist collective. He holds a PhD from The University of New Mexico and has published extensively. Miner has been featured in more than twenty solo exhibitions and has been artist-in-residence or visiting artist at institutions such as École supérieure des beaux-arts in Nantes, Klondike Institute of Art and Culture, Rabbit Island, Santa Fe Art Institute, SAIC, and numerous universities, art schools, and low-residency MFA programs. His book Creating Aztlán: Chicano Art, Indigenous Sovereignty, and Lowriding Across Turtle Island was published in 2014 by the University of Arizona Press. Miner is currently completing a book on contemporary Indigenous aesthetics and writing his first book of poetry, Ikidowinan Ninandagikendaanan (words I must learn).

View Event →
Jun
4
to Jun 17

Exquisite Machine: Print through Accumulation

PRINT 646 001, 2 weeks, 3 credit hours, Lab Fee $100

As an extension of the surrealist game Exquisite Corpse, this course will use fictitious mechanical systems to look at compositional sequencing and the dynamic and modular potential of print based processes. Visual and metaphorical precedents set by Rube Goldberg machines, early arcade games, and even contemporary games such as Candy Crush are models for investigating accumulative actions and causal sequencing. Topics will include cause/effect, accumulation, proximity, scale, repetition, layering and many other formal ideas that direct compositional choices. Students will employ a variety of output such as experimental shaped plastic intaglio plates, monotype, stencils, stone lithography and paper lithographic plates.

 

Faculty

Fire Structure 7  , Intaglio, collage and relief, 11” x 15”, 2016

Fire Structure 7, Intaglio, collage and relief, 11” x 15”, 2016

John O’Donnell is a multidisciplinary artist and performer. He is an Assistant Professor of Printmaking at the University of Connecticut. As a printmaker he uses a variety of traditional and experimental techniques to address formal and conceptual topics pertaining to illusion, construction, failure and nostalgia. He has exhibited his prints at the Print Center in Philadelphia, Glass Box, Seattle, the International Print Center in New York and Seoul Museum of Art in Seoul, South Korea. His practice as a new media artist addresses artifice, awkward transitions, humor, gender and media representation through video, installation and performance. He has created performance pieces for the New Britain Museum of American Art, New Britain, CT, No Pop Gallery, New Haven, CT, Museum of New Art in Detroit, MI, Proof Gallery in Boston, MA, FluxSpace in Philadelphia, PA, Glass Box, Seattle, WA and SOHO20 Gallery in New York, NY. 

View Event →