Advanced Printmaking "Spring" 2014 Jenny Schmid
Office hours T. 12:00-1:00 email@example.com
It is an exciting time to make prints, with new and traditional media expanding to include socially engaged art, installation, performance and digital and manual hybrids. Past categories are no longer relevant, with content, purpose and engagement at the forefront of discussion around our medium. The community is more interested in expanding notions of print and understanding the context of our discipline than limiting it by creating artificial boundaries.
This class assumes an understanding of the basic traditional media in printmaking and is oriented towards exploring the most current manifestations of our community and practice while exploring the outer limits of the medium. This class is also flexible and will respond to the needs of students, helping you develop your skills and concepts in order to create a portfolio of relevant work.
We will begin by working collaboratively with immediate processes such as polyester plates, photo-lithography, chine colle and monoprinting as a way to explore techniques and free up our understanding of the media. Collaboration allows artists to take risks and share knowledge, something that can be prohibitive when pursuing more technically demanding processes in printmaking.
After some initial structure, this class will allow you the freedom to pursue your work with critical feedback and concepts to facilitate the deepening of your ideas and techniques. You are expected to be self-motivated and open your mind in order to take a risk with your work, push yourself to gain technical proficiency and give critical feedback to your fellow students. Critiques are essential to Advanced Printmaking and you are required to actively give feedback. We will begin by talking about artists who influence us, bad and good, as a point of departure for critical discussion.
The University of Minnesota Printmaking Studios are some of the best in the country, and with the new additions of letterpress we are truly equipped with everything you need to make amazing work! Many students have continued on from this course to start print studios (Recess Press), organize exchanges, receive competitive grants (Jerome Grant, Fulbright Grant, etc.) and get accepted to highly competitive M.F.A. programs (UT Knoxville, UGA, Syracuse, Arizona State University, SAIC, etc., become professors (and play in bands).
This semester is particularly active with advanced and graduate students travelling to the Frans Masereel Center residency in Belgium during Spring break and other students attending the SGCI conference in San Francisco shortly after. Additionally we will welcome Belgian artist Marnix Everaert to our studios in late March for a non-toxic workshop. www.marnix-everaert.be/
Your grade is based on the following:
Evolutionary Abilities (taking risks and responding to suggestions) 20%
Critique/Reading Discussion Participation, Community participation: 20%
Shop Etiquette and Safety (This includes protecting yourself): 10%
You are expected to be in class and on time- more than 3 absences will drop your grade with 7 absences counting as an F. Critiques are like tests: You must be present to get credit and you must participate.
Although this class is pretty open, you will be asked to stay active during the entire class, even if we are doing something else in class. There may be other media requirements, but you are mainly asked to work in your own direction. Content is up to you and you are encouraged to work in a series. I will meet with students at midterm. A final portfolio should contain minimally 5 considered works, with multiple layers or (depending on media) an involved installation or multi-media piece with an equivalent amount of work. You should be self-motivated and working all the time, having new completed work for each critique.
Note: Please give me a printed out paragraph proposal on Tuesday if you are doing extra credits with me for BFA of BA shows.
Today: Look at prints, sign out drawers, shop safety, check out screens or stones, etc. Introductions and brainstorming student needs/requests
Thursday: Begin collaboration with monoprinting demos
Tuesday: Class presentations- be prepared!
Please come prepared with a flash drive or web links to the following:
One artist who you like and whose work influences you
One artist who you like whose work is far from yours
One artist who you don't like and why
As usual, please provide an explanation for the above categories and bring a print or two that represents your best work.
Course Outline (a more thorough schedule will be given for each section)
Part I: Collaborative and immediate processes; monoprints, polyester plates, photolitho, digital
Part II: Machines and matrices- laser cutter, vinyl cutter, cnc router, letterpress
Part III: Exchange portfolio/zine and individual projects
Supplies: Get set up ASAP, ask if you have any questions
Wet Paint 1684 Grand Ave, St. Paul (amazing array of papers)
Utrecht Art Supplies 1601 Hennepin Ave, Minneapolis (good prices on 25 packs of Rives or Arches)
Art Materials 2728 Lyndale Ave S, Minneapolis
MCAD art supply store
Takach Paper (friendly, cheap, good for ordering in bulk)
Some community/alumni presses:
Highpoint Center for Printmaking, Leg Up studio (on FB), Minnesota Center for Book Arts
Screen policy: You are responsible for good care of your screen. If you care for it and clean it in a timely manner, it will be re-usable for future students, which saves time, money and is less damaging to the environment. If your screen cannot be reused at the end of the semester as determined by your instructor or T.A., you will be responsible for purchasing replacement material (approximately $15-$20) and sanding and stretching a screen during a pre-scheduled graduate student shift (listed above).