COLLEGE BOOK ART ASSOCIATION CONFERENCE
January 5-7, 2012
San Francisco Bay Area
Time, Sequence & Technology: Book Art in the 21st Century
Hosted by Mills College and a Consortium of Bay Area
The 2012 conference theme of “Time, Sequence & Technology: Book Art in the
21st Century” covers a broad range of concerns in contemporary bookmaking by
encompassing both the conceptual and the practical. The conference will
feature a multitude of events including a members exhibition, studio
demonstrations, vendors fair, round table lunch discussions, tours of Bay
Area book art venues, student panel of lightening talks, portfolio review
for student members, members showcase, live auction, and panel presentation
Deadline for Paper and Panel Proposals: June 1st, 2011
Deadline for Exhibition Entries: August 15th, 2011
SGC INTERNATIONAL LOGO DESIGN COMPETITION: CALL FOR ENTRIES – 40th Anniversary
This is a call for members of SGC International to create brand identity, specifically, a LOGO design for SGC International. SGCI is an educational non-profit organization committed to informing our membership about issues and processes concerning original prints, drawings, book arts, and hand-made paper. The selected logo will become the official logo for the organization and will play a significant role in the visual identity for SGC International.
SGCI will retain all rights to the logo design and will have the freedom of reproducing it for any function and in any material deemed fit by the board of SGC International. An Honorarium of the amount $500 will be awarded to the designer of the chosen logo.
Since its founding forty years ago, SGCI has grown to become one of the largest printmaking organizations in North America. Each year, SGCI holds annual conferences, drawing participants nationally and internationally where significant dialogue and exchange of technical and critical information occurs. Awards, publications, and exhibitions promote greater understanding, scholarship, and enjoyment of these art forms.
In 1972 Boyd Saunders, from the University of South Carolina, invited every printmaker he knew in the South to meet at the annual convention of the Southeastern College Art Conference with the intention of forming a printmaker’s organization. (At that time, college and university printmaking programs tended to be small, isolated, and neglected.) The group that assembled in New Orleans for that meeting included Bernie Solomon, John O’Neil and Boyd Saunders. They wrote and approved by-laws and in 1973 the Southeastern Graphics Council was officially chartered by the State of South Carolina as a non-profit organization.
Boyd Saunders served as the first president from 1972 through 1974. Bernie Solomon hosted the first annual workshop conference in 1974 at his home institution of Georgia Southern College. In 1978, as the organization grew in membership, the name was changed to the Southern Graphics Council. Over the next 30 years, conferences were held in not only Southern states, but in New Jersey, Illinois, Ohio, and Wisconsin. Membership to the SGC also expanded, and now has a national and international membership. In 2010, the name was changed again to its current SGC International.
The logo MUST reflect the mission of SGC International. The logo must be versatile in nature so that it can be translated and adopted for various functions and reproduced on various materials. The logo must reproduce well in a variety of sizes from a keychain or lapel pin to street banners and billboards. It is critical for the logo to be successfully reproducible in both color and monochrome (black and white.) The logo will be used as the primary graphic representation of the SGC International organization.
Acceptable submissions may be created in either PC or Macintosh platforms in formats that allow cross-platform conversion. In your submission, please specify the authoring platform to ensure accuracy. Vector art is mandatory for the design. You will also need to include a JPEG version of your design for the jury panel to review.
To keep reproduction costs reasonable, minimize the number of colors in the finished work. In addition to a color version of the design, it is required that a monochrome (black and white) version be submitted. Include or embed any placed images and identify spot colors with Pantone color specifications. DO NOT submit works created in Microsoft Office applications such as Publisher, Word or PowerPoint as these won’t be accepted or considered.
The submitter MUST be a current member of SGC International. You must indicate your membership number along with the submission of your logo design. If you do not have you membership number, please contact SGCI Membership Chair, Melissa McGurgan at: firstname.lastname@example.org
1. Master file: Vector artwork: EPS, AI or PDF (Color and Monochrome)
• Ensure that all typographic elements in each file are converted to curves (paths, outlines).
2. JPEG (Color and Monochrome)
• Prepare artwork in RGB color space, 1000 pixels on the longest side.
Entries will be judged by a panel of SGC International members and graphic arts professionals.
• Artistic merit
• Relevance to the Project and Purpose
All submissions must be received by 5 p.m., October 7, 2011, at the address below. Late submissions won’t be considered regardless of circumstances. There is no charge to enter.
NOTIFICATION OF WINNER:
The selected artist will be notified by email and US Mail by December 9, 2011; other entrants will be notified shortly after.
University of South Carolina Beaufort
SGCI LOGO Competition
801 Carteret Street
Beaufort, SC 29902
__CD including Vector format master files (Color and Monochrome) and JPEG previews (Color and Monochrome)
__CD is labeled with your name and phone number
__Hard copy of your Name, Address, e-mail, and Phone Number
MAPC 2012: Pressing Prints/Pressing Palms: The Entrepreneurial Printmaker
DEADLINE EXTENDED for Proposals for Panels, Presentations, Exhibitions, Themed Portfolios, and Demonstrations/Print Events.
NEW DEADLINE: February 12, 2012
Visit our website for information: https://sites.google.com/site/pressingprintspressingpalms/home
Live and create in a vibrant neighborhood of contemporary Buenos Aires. Argentina’s exciting melting-pot capital city blends European traditions with South American soul.
Our modern international print workshop is near major cultural attractions. Hands-on instruction with master printer, studio work with master printer, personal feedback, critiques with Alicia Candiani, stimulating discourse and camaraderie.
´ace is an independent and non profit artist-in-residence centre in the visual arts located in the city of Buenos Aires, capital of Argentina.
Open to artists/curators. No media/residency restrictions. Deadline Aug. 31, 2012. The Brentwood Arts Exchange is The Maryland-National Capital Park and Planning Commission’s component of the Gateway Arts Center, dedicated to presenting the visual arts, it features a contemporary art gallery. Proposals should include: artist/curatorial statement. A résumé/CV. A CD/DVD w/15 images OR 3 segments of audio/video, no longer than five minutes; OR a combination. A list of works/images w/titles, media, size, and dates. An SASE for the return of materials w/postage. No image files larger than 1MB. jpeg, tiff, or png image files only. Video/audio files submitted as DVD/CD. Name each file: “last name” underscore “document” Example: jones_worksamplelist.pdf. Name image files similarly, but with a two-digit number that corresponds w/work sample list: Example: 01_jones_untitled.jpg. Web-based work may be submitted as a URL listed in the work sample list. Send to: Attn: Exhibitions Brentwood Arts Exchange@ Gateway Arts Center 3901 Rhode Island Avenue Brentwood, MD 20722
Open to artists. No media/residency restrictions. Deadline Aug. 31, 2012. The Brentwood Arts Exchange is The Maryland-National Capital Park and Planning Commission’s component of the Gateway Arts Center, dedicated to presenting visual arts, it features a contemporary art gallery. Proposals should include: artist/curatorial statement. A résumé/CV. A CD/DVD w/15 images OR 3 segments of audio/video, no longer than five minutes; OR a combination. A list of works/images w/titles, media, size, and dates. An SASE for the return of materials w/postage. No image files larger than 1MB. jpeg, tiff, or png image files only. Video/audio files submitted as DVD/CD. Name each file: “last name” underscore “document” Example: jones_worksamplelist.pdf. Name image files similarly, but with a two-digit number that corresponds w/work sample list: Example: 01_jones_untitled.jpg. Web-based work may be submitted as a URL listed in the work sample list. Send to: Attn: Exhibitions Brentwood Arts Exchange@ Gateway Arts Center 3901 Rhode Island Avenue Brentwood, MD 20722
Columbus State University is sponsoring a Print Dialogue Day (PDD) that reflects an aspect of current thought, practice and research in “greening” our print studio and practices. We are looking for artists and educators who can address some of the environmental issues we are facing today through either paper presentations and/or slide lectures. The PDD will also consist of printing demonstrations; proposals in the areas of intaglio, screen, relief, litho or mixed media are being accepted. Accepted presenters/artists will receive a $200 honorarium and will have one work included in The American Print Alliance Exhibit to take place 3/25 – 4/21/2013 in the Illges Gallery. Artists will be responsible for shipping work to the gallery; gallery will pay for return shipping.
The Detroit Print Exchange is the first in (hopefully many) annual juried trade of art prints. Artists are each invited to submit an edition of 25 prints and in turn receive a complete portfolio of 20 prints from all 20 contributing artists. As well as being featured in a Detroit Exhibition in April.
The Challenge is to create an edition of 25 prints in any 2D media in response to the words “ the time we cannot meet”. Cryptic yet straight forward the words resonate with missed opportunity and honesty. Today is there truly a time when two people cannot meet? Has technology removed time from how we interact? Explore, create and redefine.
Submission Deadline: December 31, 2012
Notification of Selected Artists: January 31, 2013
This panel will examine the topic of “Printopias,” invented histories and imaginary worlds created through print media. As a medium that historically combines image and text, the print reaches into multiple areas of cultural production, encompassing the natural sciences, medicine, biography, ephemera, political science, history, numismatics, cartography, architecture, archaeology, and more. Owing to Diderot, the history of printing is closely aligned with the Enlightenment and offers a cultural record of not only the empirical world, but also has served as a platform for envisioning new worlds, whether they be utopian or dystopian.
Print history has its own “Printopias.” Consider the ways Giovanni Battista Piranesi’s etchings of ancient Rome are imaginary constructions of the past from his position in the 18th century. Similarly, many early publications in the natural sciences such as Georges Buffon’s Histoire naturelle are based less on observation than conjecture, often bound by Biblical conceptions of the world.
A number of contemporary artists draw upon the historical aspects of print media to fabricate and document hypothetical and alternate worlds. In some cases these worlds are represented through museological collections and encyclopedias. For other artists, the prints stand on their own as artifacts of a past or future era. Often these printed worlds take mock-documentary forms.
Proposals are due March 1, 2013 and will consist of:
1. A one page abstract
2. CV (10 page maximum)
Email proposals to: Beauvais Lyons, Chancellor’s Professor
University of Tennessee, Knoxville, USA email@example.com
Print Installation Panel
Printmaking is flourishing in the contemporary art world. Its inclusive nature allows for many different approaches and opportunities. Through history, there have been artists who use the print in innovative and monumental ways. A very powerful example of such work is Durer’s 1515-1517 Triumphal Arch of Maximillian. Contemporary artists such as Nancy Spero, Swoon and Nicola Lopez are constantly expanding the boundaries of the traditional print, creating large-scale installations that utilize the multiple.
This panel will consist of three contemporary print artists who are working in the realm of print installations, utilizing the reproductive nature of the medium to create highly complex environments or spaces.
The SGCI/CAA liaison committee invites proposals from artists who create print installations or who have written about artists’ whom employ such working methods.
The deadline for proposals is June 1 at 5pm. Please email the following to Panel Chair, Marilee Salvator, Associate Professor of Printmaking, Metropolitan State University of Denver (firstname.lastname@example.org)
include the following in your proposals:
A brief abstract
5-10 jpegs of reference images